Any similarity to reality is not merely by chance on this occasion. Theatre, pure theatre, as the immortal lyrics of La Lupe suggest. A collective of African youths are currently engrossed in rehearsals, resembling any amateur troupe in Tenerife ahead of their debut. Here, we also witness scenic art in its most genuine form, so much so that they portray their own narrative. Their performance is grounded in events as tangible as the perilous and fatal maritime journey experienced by many during migration. These twelve individuals, aged between 18 and 27, mostly hailing from Senegal, alongside others from Gambia and Guinea Bissau, arrived on these shores one fateful day, much like countless migrants before them, by canoe.
Mabel Quintero, the theatrical director of the Good Samaritan Foundation, the humanitarian organisation that has nested them here on the island, lovingly and patiently guides them through a script they intimately comprehend, as they have lived the events it recounts. Their performance will be unveiled next Friday at 8:00 p.m. in the ULL Auditorium. They will debut with Bismillah: Migrant Stories. As with all theatrical ventures, nerves abound.
Reception
The afternoon air is cool in Santa Cruz, but the parish halls of the church of San Alfonso María de Ligorio, located in the Los Gladiolos district, radiate a warm welcome for those arriving from afar. There, the twelve young Africans reflect on their authentic experience through fiction.
Bureaucracy
Today’s scene depicts the long and winding process that can take years to secure documentation, achieve legality, and fulfil the aspiration of gaining employment. It conveys the frustration, anger, and sadness stemming from bureaucratic complexities or the elation derived from landing a job, even if it is only temporary. Mabel directs, instructs, pauses, recalls, and adjusts the Rave Bolero sounds (likely Mabel’s influence here). The narration is provided by Colombian David Restrepo, who, along with his compatriot and props manager Juan Camino, contributes a voluntary and Latin American flavour to this self-creation endeavour from inception to completion. David’s distinctive accent modulates the pace and clarity of the performers’ contributions. It is important to remember they are not professionals. Some exhibit enthusiasm while others may seem disinterested today, yet all are committed to the belief that this idea and challenge can succeed.
Book
They accomplished something similar with a book titled The Journey, a product of their self-publishing efforts presented last December at the University of La Laguna, detailing their life and maritime odyssey. Now, they aim to complete the narrative arc with the play. Their dream remains unfulfilled, as their ultimate desire is to find employment here as electricians, carpenters, in construction, or even in journalism, as they themselves communicate. This goal may appear daunting, currently just a wish, but they are making significant strides.
Talent
As one of the participants, Abibo Abdaf Danfa, states, “We need everyone to read The Journey and witness the production so they can understand what we have endured and, most importantly, who we are; “we do not merely arrive by boat; we possess talent.” He believes that this “can alter the perceptions of those who read or see it because it fosters reflection.” He concludes: “For me, collaborating with my peers has instilled a sense of pride because it aligns with my purpose: to learn and work towards a more dignified life.”
Stories
Literature and theatre converge to highlight shared narratives that seek to raise awareness of the intricacies of migration from a standpoint of exchange and societal transformation. They also propose realistic alternatives that may ease the necessity for African youth to undertake such perilous and uncertain journeys, like the project established by the Canary Islands Foundation El Buen Samaritano for the development of Hotel Escuela Hogar Baobab, in Kayar, the hometown of many of them in Senegal.
Theatre
This Friday the 31st, at 8:00 p.m., ULL Paraninfo will see the debut of Bismillah: Migrant Stories. The synopsis encapsulates the essence of the production. It is advertised thus: “Imagine if resources, opportunities, and dreams dwindled in your homeland… Visualise that the only escape is an uncertain prospect across a vast ocean that harbours both hope and peril. Now envision reaching land, convinced that the journey has concluded, only to find that the true challenge lies ahead. The characters in this narrative do not merely envision it; they have lived it. With the same bravery that took them aboard the vessel, twelve young migrants take the stage to recount their experiences firsthand.
Classes
This serves as a demonstration of what has been learnt and shared in the theatre classes of the El Buen Samaritano Foundation, aimed at forging connections between the Canary Islands and Africa. They explain that “bismillah” translates to “thank God” in Arabic, symbolising gratitude and fulfilment. It is a term that resonates with them and is an integral part of their daily lives.
Life
Currently, they reside in the Foundation’s shelters throughout the Metropolitan Area of Tenerife. Their educational programme encompasses skills in agriculture, culinary arts, sewing, carpentry, masonry, and welding each morning, alongside Spanish language classes and local knowledge. Afternoon sessions reinforce linguistic and cultural comprehension, while also developing social and cognitive abilities. Father Pepe emphasizes that “the pivotal aspect of this model, including the play, is our endeavour to empower them as the protagonists throughout the entire process. “They narrate their stories to the public here to dismantle numerous preconceived notions.”
Conjure
The rehearsal concluded with the narrative that aims for success next Friday. A word of encouragement to Seydou, Abibo, Musta, Kama, Mor, the dancer Djibril, Ibraima, Abdulaie, Ousmane, Ebrima, Bogouma, and Mamadou, along with David, Juan, and, of course, Mabel: break a leg!
