The Myth of Self-Isolation:

During the early months of the COVID-19 pandemic in 2020, Robert Ssempijja found himself in a small, crowded room in Uganda, seated with ten family members and friends, their eyes fixed on a television screen. The World Health Organization’s guidelines social distancing, self-quarantine, working from home, and frequent handwashing echoed through the broadcast, outlining measures to curb the spread of the virus. Yet, in that moment, the disconnect between these global recommendations and the lived realities of many Ugandans became starkly apparent, sparking the inspiration for The Myth of Self-Isolation.

At the end of the first month of lockdown, Ssempijja received an email from GRIPS Theater Berlin, inviting him to create a work reflecting on the COVID-19 situation in Uganda. The result was The Myth of Self-Isolation, a powerful dance film that questions the feasibility of global health guidelines in the African context, particularly for the continent’s most vulnerable populations. The project premiered online in 2020 as a co-production with GRIPS Theater and later received an award at the JOMBA! Digital Fringe Festival in South Africa, recognizing its poignant critique and innovative storytelling.

The film delves into a recurring question: Why does Africa often repeat the same systemic mistakes when addressing the needs of its diverse peoples, cultures, traditions, religions, political philosophies, and institutions? During the pandemic, many African governments adopted global guidelines without accounting for the realities on the ground. For slum dwellers and rural communities often poor, undereducated, and lacking access to safe water these measures were not just impractical but a “myth.” Social distancing in overcrowded homes, working from home without digital access, and frequent handwashing without clean water were unattainable for many, exposing deep structural inequities that the pandemic only amplified.

Through movement, The Myth of Self-Isolation captures the tension between imposed solutions and lived experiences, giving voice to the frustrations and resilience of African communities. The dance film serves as both a critique and a call to action, urging a reexamination of how global crises are addressed in contexts marked by systemic challenges. Ssempijja’s personal experience—watching those guidelines in a cramped room with loved ones grounds the work in an intimate, human perspective, while its broader commentary resonates with audiences across the continent and beyond.

This project continues Ssempijja’s commitment to using art as a lens for social reflection, as seen in works like Art for Road Safety and Environmental Dance. By blending personal narrative with cultural critique, The Myth of Self-Isolation offers a profound meditation on the intersection of global health, systemic inequity, and the enduring spirit of African communities.