Long before the Voices of Kilimanjaro was born, Tanzania like many other Post-Colonial nations, looked for the means to revive its culture which had been suppressed for more than eight decades by German and then English colonial adminstrators. What our leaders chose was an experimental educational tool known as the Theater for development. TfD was seemingly well-suited to helping a thinly – populated new nation largely comprised of more than 120 tribes speaking 120 different languages to communicate with one another. The central theory of TfD, advanced by international group of accademics, was that traditional theatrical performance tools-including story telling, dance, musical forms, acrobatics, signifyng customs-all of them drawn from century’s old traditions, could be repurposed to educate citizens to take an active part in participatory democracy, a foreign concept. For many, including Julius Nyerere, Tanzania’s first head of state, TfD held the key to finding the heart and soul of Tanzania’s suppressed native culture and restoring his people’s identity. Indeed, Nyerere who was popularly known as Mwalimu or Teacher, the highest compliment possible declared in 1970’s.