Abstract
The major challenge confronting African popular theatre practitioners and critics has been how to come up with an aesthetic framework that can be understood by the people who are the subject and object of development. This article uses the illustrative paradigm of four prominent workshops to demonstrate the extent to which play functions as an aesthetic discourse in African popular theatre. The test question throughout is: Are these workshops framed by the people, for the people and with the people? For, if development belongs to the people, the process of communicating such development needs to be located within the people. The article concludes by identifying some emerging paradigms that practitioners and other stakeholders can use to make popular theatre more effective.
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