PERCEPTIONS OF COSTUME AND MAKE-UP IN A THEATRICAL

PRODUCTION: A CASE STUDY OF THE PLAYS AT NATIONAL

THEATRE AND BAT VALLEY THEATRE, KAMPALA- UGANDA.

BY

HERBERT NKERA

JANE NASSAZI

LEAH AKELLO

RASHIDA NAKIYIMBA

A Dissertation Submitted to the Department of Performing Arts and Film,

School of Liberal and Performing Arts, College of Humanities and Social
Sciences, in partial Fulfillment of the Award of a Bachelors Degree in Drama
and Film of Makerere University.

August, 2018

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 DECLARATION

We (Nkera Herbert, Nakiyimba Rashidah, Akello Leah and Nassazi Jane) declare that
this dissertation is compliant and produced by ourselves and it has never been
submitted in before for any academic award in any of the higher institutions of
learning.

Nkera Herbert 15/U/11410/PS

Signature…………………………
Date………………………………

Nakiyimba Rashida 15/U/855

Signature…………………………
Date………………………………

Akello Leah 15/U/3124/PS

Signature…………………………
Date………………………………

Nassazi Jane

Signature…………………………
Date………………………………

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 APPROVAL
I certify that this research report submitted for the award of B.A Drama and Film of
Makerere University was written under my supervision.

Date: …………………………………………….

Sign: ……………………………………………

Dr. Jessica A. Kaahwa.

Senior Lecturer,

Department of Performing Arts and Film,

School of Liberal and Performing Arts,

College of Humanities and Social Sciences (CHUSS),

Makerere University.

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 DEDICATION

To our families, who have always been there for us. Thank you for creating a firm and
enabling environment that has made us to shine. We will forever be grateful.

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 ACKNOWLEDGEMENT
All praises to God the Almighty who has given us a zeal, ability, strength and
knowledge to successfully complete our academic course in Drama and Film at
Makerere University.

We also want to acknowledge the guidance and effort of our supervisor, Dr. Jessica
A. Kaahwa whose support pushed us to complete our research and writing.

All this could not have been possible without the support of the Theatre Companies
which allowed us to interact with their staff and audience.

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 ABSTRACT
This report covers the different perceptions that theatre practitioners and goers have
towards the use costume and make-up. It explores different opinions that the directors,
scenic designers, actors and the audiences. The study also looked at how technical
designers carry on with the aesthetics of scenography.

Different devices were used to learn how theatres in Uganda use scenic design to
sustain the interest of the theatre audience by different theatre companies. A lot was
discovered through qualitative and quantitative methodology of research using
interviews, Questionnaires, participation observation, Focus Group Discussions, and
library research.

The study found out three types of perceptions and response to costume and make-up
by theatre practitioners:

- Those who know what it means and put into practice what they understand
- Those who know what it means but are negligent
- Those who operate by the whims of the audience and fashion trends.

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 TABLE OF CONTENTS
DECLARATION ...............................................................................................................................i
APPROVAL .....................................................................................................................................ii
DEDICATION ................................................................................................................................ iii
ACKNOWLEDGEMENT ............................................................................................................... iv
ABSTRACT ...................................................................................................................................... v
LIST OF ACRONYMS ................................................................................................................ viii
LIST OF FIGURES ...................................................................................................................... viii
LIST OF PLATES ........................................................................................................................... ix

CHAPTER ONE ............................................................................................................................. 1

1.1 INTRODUCTION ...................................................................................................................... 1
1.2 BACKGROUND OF THE STUDY ........................................................................................... 2
1.3 STATEMENT OF THE PROBLEM .......................................................................................... 3
1.4 OBJECTIVES OF THE STUDY ................................................................................................ 3
1.4.1 GENERAL OBJECTIVE:........................................................................................................ 3
1.4.2 SPECIFIC OBJECTIVES: ....................................................................................................... 3
1.5 RESEARCH QUESTIONS......................................................................................................... 4
1.6 Significance of the study. ............................................................................................................ 4
1.7 Scope ........................................................................................................................................... 5
1.7.1 Time scope ............................................................................................................................... 5
1.7.2 Content scope ........................................................................................................................... 5
1.7.3 Geographical scope .................................................................................................................. 5
1.8 Limitations to the study............................................................................................................... 5
1.9 Ethical consideration ................................................................................................................... 6

CHAPTER TWO ............................................................................................................................ 7

2.1 Literature review. ........................................................................................................................ 7
2.2 Literature review ......................................................................................................................... 7

CHAPTER THREE ...................................................................................................................... 11

3.0 METHODOLOGY.................................................................................................................... 11
3.1 Research Design........................................................................................................................ 11
3.2 Sampling Technique ................................................................................................................. 11
3.3 Research Tools .......................................................................................................................... 11
3.3.1 Interviews ............................................................................................................................... 11
3.3.2 Participant Observation .......................................................................................................... 12
3.3.3 Library Research. ................................................................................................................... 12

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CHAPTER FOUR ......................................................................................................................... 13
4.0 FINDINGS AND DATA ANALYSIS...................................................................................... 13
4.1 DATA PRESENTATION ......................................................................................................... 13
CHAPTER FIVE ............................................................................................................................ 22
5.0 RECOMMENDATIONS AND CONCLUSION. ..................................................................... 22
5.1 CONCLUSION ......................................................................................................................... 22
5.2 RECOMMENDATIONS .......................................................................................................... 23
REFERENCES ............................................................................................................................... 24
APPENDICIES ............................................................................................................................... 26
Appendix 1: List of Plates (Photos) ................................................................................................ 26
Appendix 2: QUESTIONNAIRE ................................................................................................... 31

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 LIST OF FIGURES
Figure 1: Gender of respondents. .................................................................................................... 18
Figure 2: Age of respondents. ......................................................................................................... 18
Figure 3: Level of education of the respondents. ............................................................................ 19
Figure 4: Experience of respondents. .............................................................................................. 19
Figure 5: Importance of Costume and Make-up in A production ................................................... 20
Figure 6: Feel about the Costumes. ................................................................................................. 20
Figure 7: Comfort of the Costumes (Actors) .................................................................................. 21
Figure 8: Design considerations. ..................................................................................................... 21

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 LIST OF PLATES
Plate 1: The narrators of the play wore the same costumes they had before the show
and after the show in the play Powulo Kirimuttu by Pride Performers at National
Theatre on Tuesday, 12th June, 2018. A photo by Herbert Nkera…………………….14

Plate 2 Actors playing “Babirye” and “Nakato” in skimpy clothes Mbyase at Bat
Valley Theatre on Saturday 09th June, 2018. Photo by Nkera Herbert………………15

Plate 3 Michael playing “Mando the Askari” in a white trouser and black T-shirt in
Mbyase at Bat Valley Theatre on Saturday 09th June, 2018. Photo by Nkera
Herbert………………………………………………………………………………………..16

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 LIST OF ACRONYMS

UNCC Uganda National Cultural Centre

BVT Bat Valley Theatre

PAF Performing Arts and Film

ATG Afri Talent Group

PPA Pride Performers Africa

FGDs Focus Group Discussions

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 CHAPTER ONE

1.1 INTRODUCTION
This topic is made up of different concepts: Perception, Costume, Make-up and
Theatrical Productions. According to the Oxford dictionary (2017:342), Perception is
defined as the conscious understanding of something whereas costume is defined as a
set of clothes worn by an actor or a performer for a particular role and make-up is
defined as the application of cosmetics, colorants and other substances to enhance or
alter the appearance of the skin. In regard to costumes, Gillette Michael (1997:349)
states that theatre costume designs are of two types that is character and decorative
costume designs. He defines character costume design as those designs that are
dictated by the script and decorative designs as designs that appear to be no more than
decorative elements in the general stage picture for example, costumes for crowd
scenes.

On the other hand, Make-up refers to the application of cosmetics on the visible parts
of a person.

Edwin Wilson (1988:370) also defines Make-up as the application of cosmetics

(paints, powder, rouges etc.) to the face and body in terms of age and the special
facial features associated with ethnic origin. In daily life, make-up is used to enhance
the appearance. However, in theatre, make-up is used to assist in creating the
appearance of the character that the actor portrays during theatrical productions.

Make-up also ranges from straight make-up to character make-up in theatre

productions. Whereas straight make-up is a simple make-up with an aim of just
enhancing appearance of an actor, character make-up refers to extra ordinary make-up
for example, aging make-up and other special effects desired such as wound, false
teeth, false ears, and many more desired effects.

According to Oxford dictionary Theatrical Production is defined as any works of

theatre such as staged play, musical, comedy or drama. But for this research’s case,
the focus is on the stage plays or dramas.

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Theatre practitioners especially the directors and designers have the ability to notice
and understand a meaning underneath a certain costume and make-up which may not
be obvious to people like actors and the audience.

Obviously these opinions and interpretations vary according to the individual

perceptions (directors, designers etc.) The audience may be aware of what kind of
costume and make-up being presented to them, through the physical sense of light to
be able to understand and explicate towards costume and make-up in a theatrical
production.

1.2 BACKGROUND OF THE STUDY

There is a lot written about costumes and make-up but much of the writing has been
by Western scholars, whose writing is informed by Western theatre. Scholars have
traced these arts from the extant objects and pictorial documentation of production
through the ages. However, in Uganda the conventional theatre marks its presence
around 1929 in the practice of Reverend G.M Duncan, who is believed to have started
Western conventional theatre. Arthur Kayizzi notes that Reverend G.M Duncan
sought to boost the standard of music in protestant founded schools, to indoctrinate
students into Christianity. Also in the pre-independence Uganda, drama had also
become an essential part of the study of literature in secondary schools.

Unlike the Western theatre, theatre in Uganda draws its costume and make-up from its
traditional rituals and ceremonies, which are very spectacular. For example, Dominic
D.B Makwa (2010:18) comments on the Imbalu ritual of Bagisu tribe of Eastern
Uganda thus, that during the Imbalu ritual the candidate is smeared with millet flour
and accessorized with traditional beads and bungles, as well as costumed in goat’s
skin and banana leaves to enhance his appearance. The banana leaves are worn by the
audience that accompany the candidate. This shows that costume and make-up is very
important in performances since it helps in motivating actors as they perform, for
instance the goat skins and the millet flour smeared on the “Omusinde” or initiate, the
special costume and make-up help to establish him as the main character.

Additionally, Enoch Mutabaazi, through his journal article, Buganda’s Okwabya

Olumbe and the Tradition of Installing an Heir, Mutabaazi, asserts that when
choosing the heir among the Baganda, an attire made out of bark cloth fabric to

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symbolize the new responsibility is worn by the person. This means that even before
the introduction of modern theatre in the colonial era, costumes and make-up were
symbolic and of great importance. However, most theatrical performances in the
theatre houses of Uganda have failed to vantage out such meanings attached to
costumes because of different perceptions attached to costumes.

More about culture, according to Sandra Natukunda’s Newspaper article, The elegant
Suuka in the Monitor Uganda, she verifies Enid Tusiime, a professional tailor from
Super Garments-Pioneer Mansion that most women in Bunyoro and Tooro usually
prefer floral cotton fabrics (Suuka) to Silk because of its simplicity and maintenance.
Observably, most theatre artists in Uganda prefer certain costumes because of their
availability and care-less on the requirements of the character as far as costume is
concerned. They would rather go for more comforting and easy to get for their stage
performances. This also applies to consideration for make-up in a production where
the artists simply make-up for make-up sake.

1.3 STATEMENT OF THE PROBLEM

Just like other theatrical considerations in a performance, application of make-up and
costuming of actors has a major effect on how actors express their roles. Even though
writers have often iterated the impact of costume and make-up, the Ugandan Scenario
seems to have a different perception of these two major elements especially with the
surge of non-professional directors, designers and actors or “kagwilawo” (stand-up
comedians) this study is to scrutinize on the different perceptions of costumes and
make-up in a theatre production on Ugandan stage.

1.4 OBJECTIVES OF THE STUDY

1.4.1 GENERAL OBJECTIVE:

To find out how Ugandan artists perceive costumes and make-up in relation to stage
production.

1.4.2 SPECIFIC OBJECTIVES:

To find out the factors considered while designing the actors.

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To find out the challenges that emanate from costume and make-up during a
production.

To find out the actors view on challenges faced by them while performing in
inappropriate costume and make-up for the characters they are playing.

To investigate on how valuable costume and make-up are to theatre practitioners'

perspective.

To find out whether costumes and make-up are meaningfully used on Ugandan stage.

1.5 RESEARCH QUESTIONS

What are the challenges that limit the effective use of costume and make-up for a
production?

What factors that are considered while designing costume and make-up for an
actor?

What are the challenges faced by actors when in inappropriate costume and make-
up?

How valuable are costumes and make-up compared to other elements of

production?

1.6 Significance of the study.

It is hoped that the findings of this study will contribute to the body of knowledge.
The research is to benefit the scholars with literature review especially with those who
may do their research in a field similar to our topic or research.

It is hoped that the research will benefit theatre in Uganda following application of
make-up and costuming of actors as an effect on how actors express their roles such
that they can attract bigger audiences. The study will shade light on the ATG’s, PPA’s
and DTC’s performances plan of action for costume and make-up.

It also intends to benefit the directors, designers, actors and all the other people who
take hand in this costume and make-up by covering up their loop holes that exist in
their works of performance.

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1.7 Scope

1.7.1 Time scope

The study covers the plays produced during 2018, by Afri Talent, Dynamo Theatre
Company and Pride Performers Africa. By the time of the research, the groups had
produced three plays respectively. We used this period to make an investigation of the
plays that were produced within the time frame and, we identified their costume and
make-up considerations that were made in the production.

1.7.2 Content scope

Under our content we considered the perceptions of costume and make-up of the
theatre practitioners of Afri Talent, Dynamo Theatre Company and Pride Performers
Africa in their productions.

1.7.3 Geographical scope

Productions staged at Uganda National Cultural Centre (UNCC) and Bat Valley
Theatre (BVT) all in Kampala. This is also because Afri Talent, Dynamo Theatre
Company and Pride Performers Africa that we based on to be our case study are
located in Kampala. It should also be noted that most of the theatrical productions
have their happenings within the perimeters of Kampala.

1.8 Limitations to the study.

There were various hindrances that we encountered during our research. These
include the following as explained below.

Shows being scheduled at the same time. Different shows of different theatre groups.
However, we sorted that out by having a pair of us to attend a certain show and
having the information jotted down.

Affordability: Some shows were expensive for the researchers i.e. the Afri Talent
Performers show at Bat Valley Theatre at fee of twenty thousand Uganda shillings.

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1.9 Ethical consideration
The researchers ensured that permission was got from respective persons of Afri
Talent, Dynamo Theatre Company and Pride Performers Africa; especially from the
directors to carry out the research within their companies. This meant observing the
dos and the don’ts of the company researched. For example, we had to respect their
space and time schedules. We equally observed their on and off stage opportunity
moment for observation and interview.

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 CHAPTER TWO

2.1 Literature review.

In this section the researchers’ present related literature to the study in an effort to
expand on the perceptions of Costume and Make-up in a theatrical production.
Literature was traced from books, articles from Google scholar, lecture notes related
to our topic.

2.2 Literature review

Costume and make-up in a production is of a vital importance and through the ages it
has played a key role. Costume is an essential feature of any dramatic production and
with make- up constitutes the total visual appearance of the actor.

Phyllis Hartnoll and Enoch Brater (1968:225) assert that the Greek put a lot of efforts
in ensuring the availability of costume and make-up, for example masks were
considered to be one of those theatrical practices which improved the quality of the
performances. This enhanced the play through the use of costume and make-up that
enhanced facial expression and interpretation of the characters’ traits. Thus the
interpretation of character can be achieved if both the costume and make-up used are
appropriately to the characters as described in the play, which is majorly determined
by the designers and directors.

This determination is critical and according to Michael Gillete (1997:377) he states

that, “When an actor walks on stage for the first time, the audiences’ feeling about the
character will be based on the costume and this guides the first impression of the
character because the details about the costume in terms of colour, style, conditions of
the costume tell much about the characters traits in terms of social-economic status,
emotion or mood.” For example, when an actor comes on stage putting on black, the
audience will automatically realize that the sadness.

In addition, Gillete (1997) asserts that the costume worn by an actor profoundly
affects the audiences’ perception of the character being portrayed by the actor in that
different audiences perceive different pictures on how different types of people dress
in real life and therefore if an actor comes on stage putting on a suit, the audience will
only think of the character as business man, lawyer, wealthy person but they cannot

7
perceive the character as a low class person or peasant thus explaining how costumes
are in terms of communicating characters information.

The ‘first impression’, draws the audiences’ focus to the stage in that the first
appearance on stage determines perception in which the audience is going to relate
with the character.

According to Edwin Wilson (1988-65), costumes must be consistent with the entire
production especially with the various visual elements and thus calling for realism in
the production. Costume and make-up for the actors has to be appropriate to the entire
setting of the play. For example, if the play is set in a lower class home, then the
costume and make-up should reflect the set class on stage rather than confusing the
audience with character status. Therefore if the costumes and make-up are appropriate
to other elements of the scenery, it motivates the actors to pull out their roles well
since proper costumes motivate action and easy interpretation of the character by the
audience.

Additionally, Wilson (1988) also states that the costume must meet the needs of the
performers depending on their specific dramatic actions. This enables quick costume
changes frequently called for in theatre. He urges designers to make costume in
consideration in the need for quick change to ease the actors to make quick changes
during performances.

According to Harry H.S and Katherine A. (1989:461), actors must realize that
costume is not merely a means of characterizing a role as attractively as possible in its
colour and silhouette, but it is a vital part of a total stage design

Also Harry and Katherine (1989:462), believe that if colour of the costume is not in
harmony with other colours on stage or if not appropriate to the historical period of
the play, it can destroy the atmosphere of the production no matter how beautiful the
costume may be or how flattering it is on the actor because different historical periods
have different designs, therefore if the directors production concept is to produce a
play in its original time frame, the costumes has to be correspondent to the period and
this has to be consistent throughout the performance. For example, the lights being
used in order not change the mood or emotion of the play should have a colour more
associated with the mood.

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In relation to the above, Francis Hodge (1971:240) states that costume is the most
dynamic and living of all the visual designs and with this in mind, the director has to
be more certain on how to he can bring counterpoints into the total design that is
scenery, properties, and lighting chosen which shows how important the director’s
understanding of his characters costumes is as far as determining the choice of
costume concerned because costumes are part and partial of the overall production
and it cannot be done in isolation of other elements. Therefore, in case of any mistake
in costumes, the whole performance can be ruined for example some of the actors
could sweat and sweat would be flowing and they would spend most actions wiping
sweat on their body which we suppose was not part of the play because of poor wrong
of costume. Hartnoll and Brater (1968) argue against the above that, “In a Hearth, like
the Theatre of Dionysus in Athens, the classical masks (Make-up) were able to bring
the character’s facial expression closer to the audience because they had intensely
over-exaggerated facial features and expressions”.

El Mort, Sofie Devin and Margret Harris (1992:12), advocate for consulting the
designer and coordinate the colours of the scenery because the prudent costume
designer ensures his anticipation by choosing colours that harmonize with- and will
not be overwhelmed by- the colours of the scenic background. Neilie McCaslin
(1990:375) also suggests that costume has to be planned with the scenery in mind and
this encourages cooperation and coordination among the members of the same club to
parade colour palates of the whole production in different departments, costume, and
scenic background.

Oscar G. Brockett (1923:127) claims that in the late middle ages, in most instances
actors had to supply their own costumes unless these needed special attention from
the designer but the director gave each performer a detailed description of appropriate
dress for his character and this indicated that a director has to be well versed with the
details of the costume for each character.

Ray Smith (1974:26), notes that the make-up artist has to understand the history of the
part, the period of the play, “what they wore and what they did with their hair.” In
that, with the history of the part, the designer is able to know changes in the social-
economic situation of the character, age for plays that run years in their setting, the
period which the play was written because every period has its way of dressing and

9
make-up, for example, in the 1960s people were known of wearing Afro-wigs and
bell bottomed trousers which is not the case in most of the theatre companies where
actors do not mind about the costumes they wear but they costume themselves by the
trend and accessibility of the make-up and costume.

Nellie McCaslin (1980:375) advocates for good fabrics in costumes for example
paper should be avoided because it tears easily and so it is hazardous. He suggests that
all good costumes, whether made for a particular occasion or given to school, be
saved and kept clean and in good repair to avoid disappointment while acting for
example tearing down of costume can be a setback. McCaslin’s further states that the
collection of garments should be a continuing project as to create a stock from which
different costume should be picked

Finally Edwin Wilson (1988:370) states that the key function of make-up is to help
the performer personify and embody the characters he or she is playing.

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 CHAPTER THREE

3.0 METHODOLOGY
This section is an overview of the methods, research design, the targeted audience, the
sampling techniques, and limitations to the research, the sources of data that is
primary and secondary sources.

3.1 Research Design

We used qualitative and quantitative design while doing our research. This helped us
to get detailed information especially during the Focus Group Discussions (FGDs)
interviews and questionnaires. This design compelled the informants to give us
clarified information. The informants would give and explain the information in detail
so as to meet our needs as the researchers.

3.2 Sampling Technique

We used purposive technique because we knew exactly what we wanted and which
people to get to in order to get that information because of the various knowledge and
positions that they hold in the Dynamo Theatre Company, Afri Talent (Essanyu lya
Kampala) and Pride Performers Africa as theatre group companies. Our sample size
was of sixty people.

3.3 Research Tools

These were methods used to collect data. These included FGDs, interviews,
questionnaire participant observation and library research. The targeted population
was the actors, Directors, Costume and Make-up designers of Dynamo Theatre
Company, Afri Talent (Essanyu lya Kampala) and Pride Performers Africa as Theatre
Companies.

3.3.1 Interviews
We interviewed the directors, designers and actors of Dynamo Theatre Company, Afri
Talent (Essanyu lya Kampala) and Pride Performers Africa. The actors interviewed
included those that are in the company especially during the production of

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Government Inspector, Mbyase and Powulo Kirimuttu of Dynamo Theatre Company,
Afri Talent (Essanyu lya Kampala) and Pride Performers Africa respectively. The
directors were asked about how they decided on the costume and make-up of their
actors as well as their coordination with the designers for the production.

While making the interviews, we used open and closed ended questions and probed
the informants for clarifications. This enabled the researchers to get detailed and
informative responses. In some cases, we needed a brief response or answers which
required a Yes or No.

3.3.2 Participant Observation

We attended the various productions at different theatre companies such as Mbyase by
Afri Talent (Essanyu lya Kampala) which was scheduled on Saturday 09th June,
2018 at Bat Valley Theatre, Powulo Kirimuttu which was staged at the Uganda
National Theatre on Tuesday 12th June, 2018 and The Government Inspector by
Dynamo Theatre Company on Tuesday 19th June, 2018 at The National Theatre.

3.3.3 Library Research.

We did library research for literature review about the back ground of the study, the
various literature concerning Perceptions of Costume and Make-up on in a theatrical
production and information concerning some of the concepts in our study.

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 CHAPTER FOUR

4.0 FINDINGS AND DATA ANALYSIS.

This section includes the findings and the interpretation of the data collected.
Questionnaires were given out with four sections. Section 1 with four parts and the
other sections with three parts. Following the tables was the data collected.

4.1 DATA PRESENTATION

The primary data was collected by use of the interview guide which consisted of
questions based on the objective and research questions of the study. It looked at how
the audience, actors, directors and designers understand costume and make-up in the
performances.

The questionnaires consisted of both open ended and closed ended questions in two
sections. Section one consisted of gender of respondents, age group, level of
education and experience. Section two consisted of several questions. The questions
required the respondents to comment on whether costumes and make-up were
important in theatre production, the directors and designers were to talk about the
factors considered as they design costume and make for their characters. Actors were
to answer whether they were comfortable with costume and make-up they had worn
during the performance.

Pride performers in Uganda in their play, Powulo Kirimuttu does not conform to the
writing of the Michael Gillete about the “first impression” of the actors’ costumes
first appearance on stage. They do not consider costumes as an essential element in
their productions and this was evident on the show which they published at the
National Theatre on Tuesday 12th June, 2018 where the Narrators of the play wore the
same costumes they had before the show and after the show which meant that they
had not prepared for the show or else did not consider the costumes as an essential
tool in the production.

13
Plate: 1:The narrators of the play wore the same costumes they had before the
show and after the show in the play Powulo Kirimuttu by Pride Performers at
National Theatre on Tuesday, 12th June, 2018. A photo by Herbert Nkera.
Additionally, some designers’ costumes decisions in Uganda don’t meet the needs of
the performers depending on their specific actions. Unlike Wilson, who says that, “it
does not enable quick costume changes frequently called for in theatre.” He continues
to highlight that,

“…designers should make costume in consideration, in the need for quick

change to ease the actors to make quick changes during performances.”

However, designers do not consider the issue of ease of the actor to change their
costumes during performances and results to wastage of time as actors take long to
come on stage as a result of difficulty in changing costumes because designers give it
a little time to design the costumes since they think it’s a matter of coming up with a
costume on a final performance.

In most cases, we found out that actors like to look fashionable on stage rather than
being costumed as required by the role they are performing. For example, the Afri
Talent, one of the popular theatre companies in Uganda, it was observed that their
costumes for all their characters are more of fashion oriented than interpretation of
character and action.

14
During our field work at Bat Valley Theatre on Saturday 9th June, 2018, a production
by Afri Talent (Essanyu Lya Kampala), collecting data was not difficult because the
people we interviewed provided different and amazing opinions about costume and
Make-up due to the fact that different theatre practitioners have experience on the
impact of using costume and make-up in a production. Some audience members had a
clue about costume and make-up while others did not. In the circle of the audience,
there were actors hailing from other theatre groups in Kampala. Most people strongly
agreed that costumes were vital during theatrical performances. During an interview
with Kagoro Ali, who was part of the audience, said that he was not pleased by the
costumes especially what some actresses were wearing. He claimed that those
costumes were skimpy and said that they should have got descent clothes since it was
a fasting period for the Muslims. However, he could not manage to hide his
excitement for the play. Unlike Ali, one of the actresses in the audience applauded the
costumes for the actors, saying that “the actors were fitting the characters with the
help of the costumes.” She added that “the costumes were contemporary, considering
how they were designed.”

Actors playing “Babirye” and “Nakato” in skimpy clothes Mbyase at Bat

Plate: 2:
Valley Theatre on Saturday 09th June, 2018. Photo by Nkera Herbert.

15
Moreover, one of the actors, Michael who was playing “Mando the Askari” in the
play said that,

“I was not happy with the costume they gave me. I think that my intended
costume for my character was either stolen or misplaced.”

This made him lose focus at the beginning of the play because he had to claim the
power of his character although he did not have his right costume. He later
improvised with a black T-shirt and White trouser. He said that no one designs for
him or chooses the costume for him- he always designs and chooses costumes for
himself even in the previous shows. He said that no make-up was applied on him, in
his words,” It is only the ladies they concentrate on.” We also learnt that the company
keeps some costumes for the actors.

Plate: 3: Michael playing “Mando the Askari” in a white trouser and black T-
shirt in Mbyase at Bat Valley Theatre on Saturday 09th June, 2018. Photo by
Nkera Herbert.
We observed that Pride Performers, before their show, the director asked the actors to
put on what they had brought and it did not matter if they had their lines to perform
action on stage since they neglected the colours thus some actors disappeared on stage
and their visibility unmatched with the backdrops on stage. In addition to this, the

16
light isolated some actors during the performance yet Mort, Devin and Harris note
that the designer must understand the production’s lighting plot, saying that,

“The best of costumes can be ‘drowned’ in too much light, or lost in too little-
a scheme of colour can also be enhanced or damaged by the colour of light”.

This is the case in most of the theatre companies in Uganda such as Pride Performers
where by actors are told to bring anything from their wardrobes not minding so much
about the costume requirements for the roles they are playing. For example, actors
brought what they preferred that they would look nice on them other than the
characters that they are playing hence unsupervised personal wardrobe created
confusion in Pride Performers stage production of Powulo Kirimuttu because it did
not conform with the time period they were playing but rather their individual
preference and sacrificed the art.

Locally in Uganda - Dynamo Theatre Company is in very much in keeping with

McCaslin’s practice, where they stock costumes clean because they do performances
seasonally which has won them a market on local stages because they have learnt to
differentiate between different seasons and costumes.

Afri Talent Performers, make-up every actor to bring out their role which they
successfully achieve because the two people (actor and character) are different in
various ways. For example, the character may be old yet the actor is young, and this
calls for make-up artist to apply aging make-up so that the actor fits the age of the
character he is playing and this makes audience love an old man on the stage not the a
young man who tarnishes the script.

17
SECTION 1:

Figure 1: Gender of respondents.

GENDER FREQUENCY PERCENTAGE (%)

MALE 25 42

FEMALE 35 58

Total 60 100

The data above indicates the gender of the respondents who were 60 in total with 42%
males and 58% females. This implies that there were more females than males who
attend theatre in the different groups; i.e. Dynamo Theatre Company, Afri Talent
(Essanyu lya Kampala) and Pride Performers Africa. This further illustrates that there
are more females who are going to these productions.

AGE GROUP (YEARS) NO. OF PEOPLE PERCENTAGE (%)

16-20 30 50

21-25 15 25

25-30 4 6.7

30-35 6 10

36+ 5 8.3

Total 60 100

Figure 2: Age of respondents.

As shown in Figure 2 above, 50% of the respondents were between the age of 16-20
years old were the majority, 25% were between 21-25 years old, and 6.7% were
between 25-30 years old, 10% were between 30-35 years old and 5% were between
36-40 years old. This implies that there were more young people in the theatre as
compared to the old as interviewed.

18
Figure 3: Level of education of the respondents.

LEVEL OF EDUCATION NO. OF PEOPLE PERCENTAGE (%)

W Primary 0 0

X Secondary 30 50

Y University or its equivalent 15 25

Z Others 15 25

Total 60 100

Under figure 3 the level of expertise of the respondents, 50% were under the
secondary level, there was no one from the primary level and that is why under the
primary level there is 0%, the university or its equivalent category Y had 15%
respondents and the last category of others Z had 15%. This implies that
Secondary(X) has the biggest percentage of 50% as compared to University and
others with both 15%.

EXPERIENCE NO. OF PEOPLE PERCENTAGE (%)

Less than a year 0 0

1-2years 15 25

3-4 years 30 50

5 and above years 15 25

Total 60 100

Figure 4: Experience of respondents.

From the illustration above in Figure 4, 0% of the respondents have an experience of

less than a year, 25% of them have an experience that is between 1-2 years, 50% have
an experience between 3-4 years and 25% have a five and above years of experience.

19
SECTION 2: Questionnaire.

Figure 5: Importance of Costume and Make-up in A production

CATEGORY NO. OF PEOPLE PERCENTAGE (%)

Strongly agree 60 100

Agree 0 0

Disagree 0 0

Not sure 0 0

Total 60 100

From the figure above under section 2, 0% respondents strongly disagree that make-
up is not important, 0% disagree, 100% strongly agree, 0% agree and 0% agree.

All the Directors, actors, designers and the audience strongly agreed that Costume and
Make-up is important in the play.

Figure 6: Feel about the Costumes.

CATEGORY NO. OF PEOPLE PERCENTAGE (%)

Colour 2 3.33

Fashion 25 41.6

Fitting Role 5 8.3

All of Them 25 41.6

None of Them 3 5

Total 60 100

From the figure above, 3.33% of the respondents like the colour of the
costumes, 41.6% like the Fashion and everything about the costume, 8.3% like the
costumes according to how the actors wore them and 5% did not like anything about
the costumes.

20
Figure 7: Comfort of the Costumes (Actors)

CATEGORY NO. OF PEOPLE PERCENTAGE (%)

Happy 19 86.3

Somehow Happy 1 4.54

Preferred Something Else 2 9

Total 22 100

As shown in the above category, majority 86.3% of the actors were happy about their
costumes, 4.54% of the actors were somehow happy about their costumes and 9% of
the actors preferred something else.

SECTION 3.

Figure 8: Design considerations.

CATEGORY NO. OF PEOPLE PERCENTAGE (%)

Based on the play 5 62.5

Based on Trend 2 25

Accessibility 1 1.25

Spectacle 0 0

Total 8 100

Under this Figure 8 of section 3 shown above, majority 62.5% design their plays
basing on the story and time of the play, 25% design their plays basing on the trend,
1.25% design their plays according to the accessibility of the costumes and 0% of
both directors and designers consider the spectacle of the play.

21
 CHAPTER FIVE

5.0 RECOMMENDATIONS AND CONCLUSION.

In this chapter there is recommendations and conclusion about the study.

5.1 CONCLUSION
There is a surge of many theatre groups in Uganda. Many have failed to sustain their
audience and others have flopped from the top to the lowest position in theatre
industry in Uganda. This is explicable because many of these theatre groups have no
grounding in the use of technical theatre design such as costume and make-up. Also
they do not do enough research to follow conventional requirements. Nonetheless
there are certain theatre companies such as Dynamo Theatre Company (DTC) and
Afri Talent Group which have showed positive growth in the direction of adhering to
the importance of costume and make-up in a theatrical production. This has
challenged the notion of lack of scenic design professionalism in theatre in Uganda.

The study set out to find out perceptions of costume and make-up in a theatrical
production on Ugandan stage and it was confirmed that theatre in Uganda have
minimal use of costume and make-up. In part, there is reluctance among theatre
practitioners in employing costume and make-up as significant aspects of production
capable of producing spectacle. Notwithstanding the fact there are some professional
artists who knows the importance of costume and make-up design. These outrides the
negligent artists who puts less attention and efforts to achieve the professional
standard of these designs.

Such negligence has compelled theatre group leaders to negate the importance of
employing costume and make-up artists, instead leaving the onus to the directors and
actors to find what is suitable for the characters in the productions. Leaving this
responsibility to the actors and directors has resulted into poor choices of make-up
and costumes that are alien to the characters. Furthermore, some directors end up
giving improvised costumes to actors which block the actors’ acting due to the wrong
choices. Therefore, although there are some theatre groups in Uganda which consider
costume and make-up design as indispensable aspects in putting commendable

22
productions, the others have a less conventional approach towards costume and make-
up in their productions.

In conclusion, conventionally, costumes and make-up play an important role in the

character creation, visual aesthetics, and even practical elements in a production.
However, in Uganda, whereas some theatre practitioner understand the significance of
these aspects, others need to elevate on them to improve their performances on stage.

5.2 RECOMMENDATIONS
We recommend that at least every company or Theatre group to consider costume and
make-up as a “life savior” of the production in order to have the best for their
audience experience.

They should make costume and make-up assembly conference and make appropriate
for the actors for the audience enjoyment and to enhance on character disclosure.

The fact that there are more women attending theatre, it is therefore important for
theatre practitioners to make effort to attract men to the theatre since they have the
capacity to finance theatre.

The study also recommends that all the theatre practitioners should attend courses that
help their design capacity so as to improve the current theatre productions.

We hope this will help to avoid incidences where some theatre people are totally
immature about their field however, much as one may choose to specialize in a given
sector.

23
 REFERENCES
Gillette Michael (1997) Theatrical Design and Production. An Introduction to Some
Design and Construction lighting, Sound, Costume and Make-up. May Field
Publishing Company London Toronto. Pages 349, 377

Edwin Wilson. 1988. The Theatre Experience. New York: McGraw Hill Book
Company. Social Publishers. Page 65.

Brocket G. Oscar (1979) The Theatre Introduction. Fourth Edition, Holt Rinehart and
Winston Publishers.

Harry H. Schanker and Katherine Anne Ommanney. 1998. The stage and the school.
New York: McGraw Hill, Page 344.

Arthur Kayizzi notes that the Namirembe Church Music Festival, started in 1929 by
Reverend G.M Duncan

Dominic D.B Makwa (2010) Musicking and Dancing Imbalu Circumcision Rituals
(Khushina Imbalu): Performing Gender among the Bagisu of Eastern Uganda. Page
18.

Phyllis Hartnoll, Enoch Brater The Theatre: A concise History Thames & Hudson
world of art Volume 0. 4th Edition. Thames and Hudson Publishers (1968:225)

Francis Hodge (1971) Play Directing 5th Edition. “Director’s Options Costume,
Make-up and Sound Effects” Pages 240,241 and 242.

Hendrik Baker (1989) Stage Management and Theatrecraft: Stage Manager’s

Handbook. 4th Edition. Cressrelles Publishing Co. Ltd. Pages 225,227 and 228.

El Mort, Sofie Devin and Margret Harris (1992) Designing and Making Stage
Costumes Edited by Michael Mullin (London) The Hurbert Press Limited, Page 12.

Buganda’s Okwabya Olumbe and the Tradition of Installing an Heir, Mutabazi,

Natukunda’s journal article, The elegant Suuka in the Monitor Uganda

Neilie McCaslin (1990) Creative Drama in the Classroom. 5th Edition. Published by
Players Press Inc. Page 375

24
Ray Smith (1974) The Theatre Crafts Book of Make-up, Masks, and Wigs. Published
by Rodale Press Inc. Pages 23, 26 and 28.

25
 APPENDICIES

Appendix 1: List of Plates (Photos)

A poster of Afri-Talent theatre performers, advertising their show known as

Plate: 4:
‘Mbyase, 2018. Photo by Nkera Herbert.

Plate 4: An excerpt of Mbyase Production by Afri-Talent performers. Make of

costume in consideration in the need for quick change to ease the actors to make
quick changes during performances. Photo by Nkera Herbert.

26
Plate 5 Neglecting the colours make some actors disappear on stage and their
visibility unmatched with the backdrops on stage. A photo by Nkera Herbert.

Plate 6: Hajji and Hajjat acting in Mbyase at Bat Valley Theatre on Saturday 09th
June, 2018. Photo by Nkera Herbert

27
Plate 7: Good choice of questions make actors appear on stage and their visibility
match the backdrops on the stage

Plate 8: To much light intensity on some costume fabrics make actors’ poor visibility

28
Plate 9: Mzee acting in Powulo Kirimuttu by Pride Performers at National
Theatre on Tuesday, 12th June, 2018. A photo by Herbert Nkera.

Plate 10: Some actors want to look fashionable neglecting the time period of the play.
Some actors in Powulo Kirimuttu by Pride Performers at National Theatre on
Tuesday, 12th June, 2018. A photo by Herbert Nkera.

29
Plate 11: Poor lighting make some actors in costumes disappear on stage. A capture
of actors in Powulo Kirimuttu by Pride Performers at National Theatre on
Tuesday, 12th June, 2018. A photo by Herbert Nkera.

Plate 12 Costume has to be planned with the scenery in mind and this encourages
cooperation and coordination among the members of the same club. Some actors in
Powulo Kirimuttu by Pride Performers at National Theatre on Tuesday, 12th
June, 2018. A photo by Herbert Nkera.

30
 Appendix 2: QUESTIONNAIRE
Dear member,

The researcher is a student of Makerere University pursuing a B.A in Drama and

Film. The information you provide shall be treated confidential and used for study
purpose only.

BASIC INFORMATION

✓ Tick appropriately ( )
1. Indicate your gender.

Male ( ) Female ( )

2. Indicate your age group.

16-20 ( ) years, 21-25 years ( ), 25-30 years ( ), 30-35 years ( ), 36+( )

3. Level of Education.

A. Primary ( ), B. Secondary ( ), C. University or its equivalent ( ), D. others

Specify ( )

4. Experience.

16-20years ( ), 21-25 ( ) years, 26-30 years ( ), 31-35 years ( ), 36+years ( )

31
ACTORS
1. How did you find your Costume?
A. Happy
B. Somehow Happy
C. Preferred something else

2. Who designs for the production? Did you design for yourself or it was designed for
you?
A. Yes
B. No

3. Was a costume design made by a member of the production or a tailor?

A. Select either: production OR tailor
B. None of the above
C. Recommended by director
4. Was the costume(s) specifically made for the show or borrowed?
A. Yes
B. No
C. Both

5. After the show who keeps the costume?

A. Yourself (actor)
B. Company
C. I don’t know
6. Did you make up for this show or that’s how you make up?
A. Yes
B. No
C. Both
7. Who did your make up?
A. Self
B. Designer

32
8. Who provides the make-up for actors? Is it the company or an individual actor?
A. Yes
B. No
Who supervises the make-up of the actors?
______________________
9. If it is company make-up kit - who keeps it?
A. Director
B. Company Make-up artist
C. Assigned person

DESIGNERS/ MANAGERS
1. How do you decide on the costume for an actor?
A. Based on the play
B. Based on Trend
C. Accessibility
D. Spectacle
2. What has been your experience with designing different productions?
A. Easy
B. Challenging
C. Both
3. Did you agree with the director before deciding on the costumes?
A. Yes
B. No

AUDIENCE
1. What did you think about today’s costumes?
A. Very Good
B. Good
C. Somehow
D. I didn’t see it
2. Do you think costumes are important in a play?
A. Yes
B. No

33
3. Do you think the costumes were suitable for the characters?
A. Yes
B. No
4. What did you like about the costumes?
A. Colour
B. Fashion
C. Fitting Role
5. What did you think about today’s make up?
A. Very Good
B. Good
C. Somehow
D. I didn’t see it

DIRECTOR
1. Who designs costumes for the production?
A. Self
B. Costume Designer
C. Actors
2. How do you decide on the costume?
A. Based on the play
B. Based on Trend
C. Accessibility
D. Spectacle
3. Did you agree with the costume designer before presenting the costumes?
A. Yes
B. No

4. Do you think the costumes were suitable for the characters? Are you satisfied with
the costumes your actors wore?
A. Yes
B. No
5. Do you consider Make up much as Costume?
A. Yes
B. No
C. Sometimes

34