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BAMAKO, Mali — In the open space of a psychiatric ward in the capital of Mali, a small assembly of individuals grapples with village conflicts through the lively rhythm of a djembe, a popular West African drum.
One participant, Mamadou Diarra, playfully shouts to another in Bambara, saying, “You don’t know anything! Pure nonsense!”
Both soon transition into laughter, and Diarra joyfully dances while continuing his jests at his co-actor.
This group is engaging in koteba, a traditional theatrical style from Mali’s predominant ethnic group, the Bambara. This art form seamlessly weaves acting, singing, and dancing, often enacted in villages as a means to process conflicts and serves as a platform for satire.
At Point G, noted as one of the largest medical facilities in Bamako, the practice of koteba is not only a therapeutic tool but also fosters a sense of belonging for those undergoing psychiatric treatment.
A recent report highlighted that Mali has fewer than 50 mental health experts available to serve a population exceeding 20 million, leaving many individuals with mental health issues without care and often ostracized.
While the therapeutic benefits of koteba have yet to be formally investigated, Souleymane Coulibaly, a clinical psychologist affiliated with Point G hospital, expressed that this traditional form of theater provides a unique opportunity for patients to confront their challenges.
“Patients who take part in koteba tend to leave the hospital sooner than those who do not engage in the theatrical sessions,” he noted.
In the center of the activity, Diarra shone as a leading figure, drawing attention from his peers.
“I’ve never done theater before. Dancing was also new to me. But once I began, I felt inspired,” he shared.
Adama Bagayoko, 67, director of the traveling theater group, emphasized that the weekly performances at Point G create a rare environment where patients are genuinely listened to and valued.
“We converse, we dance, we share laughter,” Bagayoko explained. “By interacting, we establish equality, demonstrating that each person’s voice and experiences matter.”
Bagayoko was part of the group that introduced koteba to the psychiatric ward in 1983, responding to a need among mental health professionals to integrate Mali’s cultural traditions into patient care.
The first session proved so impactful that patients urged the doctors to arrange for the actors to return the following day.
Since then, patients and artists have gathered for koteba sessions every Friday.
Bagayoko described the structure of the koteba performances in three segments. Initially, music is played to draw patients outside. The troupe then solicits suggestions for the theme of that day’s enactment. Following the performance, they sit together in a circle, allowing patients to express their thoughts.
The relaxed atmosphere encourages patients to share personal insights that they might hesitate to disclose to family or medical practitioners, eventually aiding healthcare providers in understanding the issues at hand, according to Bagayoko.
On a recent Friday, the patients reenacted a scene reflective of daily life in Mali: a villager facing accusations of theft. The alleged thief claims innocence while the villagers implore Diarra, who assumes the role of the village chief, to determine the appropriate punishment.
“Execute him!” Diarra shouts amidst the chaos. However, as tensions rise, the accused manages to flee.
Bagayoko noted that the team explores various topics suggested by the patients, addressing themes such as domestic violence, substance abuse, and alcoholism.
The Point G hospital is conveniently located near Mali’s political epicenter — the presidential palace and the main military installation — which have been affected by a military coup in 2020, resulting in escalating extremist violence and economic challenges. Recently, Bamako was targeted by Islamic militants for the first time in nearly a decade.
However, those serious concerns feel distant during the koteba performances, where Diarra and his fellow participants are fully engulfed in the fictional narratives they create.
“You know what my issue is? I perceive reality as it is,” Diarra remarked with laughter during a brief intermission.
Bagayoko quickly responded, “Alright, let’s help lighten that burden for you.”
One participant, Mamadou Diarra, playfully shouts to another in Bambara, saying, “You don’t know anything! Pure nonsense!”
Both soon transition into laughter, and Diarra joyfully dances while continuing his jests at his co-actor.
This group is engaging in koteba, a traditional theatrical style from Mali’s predominant ethnic group, the Bambara. This art form seamlessly weaves acting, singing, and dancing, often enacted in villages as a means to process conflicts and serves as a platform for satire.
At Point G, noted as one of the largest medical facilities in Bamako, the practice of koteba is not only a therapeutic tool but also fosters a sense of belonging for those undergoing psychiatric treatment.
A recent report highlighted that Mali has fewer than 50 mental health experts available to serve a population exceeding 20 million, leaving many individuals with mental health issues without care and often ostracized.
While the therapeutic benefits of koteba have yet to be formally investigated, Souleymane Coulibaly, a clinical psychologist affiliated with Point G hospital, expressed that this traditional form of theater provides a unique opportunity for patients to confront their challenges.
“Patients who take part in koteba tend to leave the hospital sooner than those who do not engage in the theatrical sessions,” he noted.
In the center of the activity, Diarra shone as a leading figure, drawing attention from his peers.
“I’ve never done theater before. Dancing was also new to me. But once I began, I felt inspired,” he shared.
Adama Bagayoko, 67, director of the traveling theater group, emphasized that the weekly performances at Point G create a rare environment where patients are genuinely listened to and valued.
“We converse, we dance, we share laughter,” Bagayoko explained. “By interacting, we establish equality, demonstrating that each person’s voice and experiences matter.”
Bagayoko was part of the group that introduced koteba to the psychiatric ward in 1983, responding to a need among mental health professionals to integrate Mali’s cultural traditions into patient care.
The first session proved so impactful that patients urged the doctors to arrange for the actors to return the following day.
Since then, patients and artists have gathered for koteba sessions every Friday.
Bagayoko described the structure of the koteba performances in three segments. Initially, music is played to draw patients outside. The troupe then solicits suggestions for the theme of that day’s enactment. Following the performance, they sit together in a circle, allowing patients to express their thoughts.
The relaxed atmosphere encourages patients to share personal insights that they might hesitate to disclose to family or medical practitioners, eventually aiding healthcare providers in understanding the issues at hand, according to Bagayoko.
On a recent Friday, the patients reenacted a scene reflective of daily life in Mali: a villager facing accusations of theft. The alleged thief claims innocence while the villagers implore Diarra, who assumes the role of the village chief, to determine the appropriate punishment.
“Execute him!” Diarra shouts amidst the chaos. However, as tensions rise, the accused manages to flee.
Bagayoko noted that the team explores various topics suggested by the patients, addressing themes such as domestic violence, substance abuse, and alcoholism.
The Point G hospital is conveniently located near Mali’s political epicenter — the presidential palace and the main military installation — which have been affected by a military coup in 2020, resulting in escalating extremist violence and economic challenges. Recently, Bamako was targeted by Islamic militants for the first time in nearly a decade.
However, those serious concerns feel distant during the koteba performances, where Diarra and his fellow participants are fully engulfed in the fictional narratives they create.
“You know what my issue is? I perceive reality as it is,” Diarra remarked with laughter during a brief intermission.
Bagayoko quickly responded, “Alright, let’s help lighten that burden for you.”
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