Abstract

This paper explores the position of art as a vehicle of socio-economic development; engineered by playwrights as mouth pieces of their societies. The arts domain has always been a contested field of experimentation in handling community-oriented issues concerning human life. Plato in The Republic, authoritatively condemned arts terming it a less important realm of education  as “artists begin from ideas advance further ideas and end up in ideas.†This view was however challenged by Aristotelian views, clearly stating the value of imitating the right actions. In contemporary societal disposition, there has emerged a new wave of correction ideas for community artists with the development concerns of a people. Art emerges as a mirror of society and so whatever is performed  for its good builds the psychological needs of the community members. The spirit of togetherness and cooperative movement is best expressed through performing arts while engaging, the people in development projects, for instance; building of community schools, cattle dips, police stations, water projects, social halls and churches among others. There is a great opportunity for developing a people’s future through the voice of the performers. Performance and education  emerge as important paradigms for shaping not only an individual but community goals, ambitions and aspirations. Ideally, the performance enhances psychotherapeutic ingredient in the audience. An active synergized  audience participates in creating an atmosphere of oneness, people’s  power, innovation and societal empowerment. A culture of brotherhood, sisterhood and  pacification entrenches itself in the minds of community members who are then able to participate in decision-making ventures especially that involve the youth and women  groups. In the long run, the ensuing differences and conflicts that rock the community are addressed harmoniously and courageously through dialogue captured in dramatic arts.

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