Hailed as "First Rate" and "Inspiring!" by the New York Times, Children of Uganda is an internationally touring dance and music troupe, composed of 22 young Ugandans aged 6 to 20. All the members of the company have lost one or both parents to AIDS. They live in homes and boarding schools supported by the Texas-based Uganda Children's Charity Foundation (UCCF). Children of Uganda was originally founded to teach orphaned children the songs, dances and stories that were in danger of being lost, as AIDS continues to shred the social and cultural fabric of Ugandan communities.

On opening the program for the Children of Uganda performance at San Francisco's Yerba Buena Center, I was confronted by these stark facts:

- There are 2.4 million orphans living in Uganda today.

- They make up 10% of Uganda's total population, 20% of Uganda's population under 14.

- 1.1 million of them have lost one or both parents to AIDS.

- AIDS kills over 200 people a day in Uganda.

Yerba Buena's marketing materials say: "But what if the response to this heartbreak was dance and drumming, light and joy? Can art heal wounds this deep? Sometimes it's riskier to respond with joy than sorrow; the Children of Uganda invite you to take that courageous leap."

Does this make you feel a little queasy? Should anyone be required to respond to tragedy on this scale with "dance and drumming, light and joy?"

"People may think they're going to feel bad, but what they see is the antithesis of that," says Alexis Hefley, Texan American founder of UCCF. "It's an amazing production about hope and ethnic dance. It's happy and inspiring." Hefley was a banker until 10 years ago, when she visited Uganda in search of "meaning and community". She is a staunch advocate of the abstinence programs promoted by the Bush administration and Uganda's first lady, Janet Museveni. "Abstaining until you're married, then staying faithful to one partner is the most effective way to prevent HIV transmission."

The program states that Children of Uganda serve as "goodwill ambassadors for the 2.4 million orphans living in Uganda today" and "increase awareness of the HIV/AIDS crisis in their homeland."

Perhaps I'm cynical, but haven't Bono, Angelina Jolie and Brad Pitt already cornered that market? Will greater "awareness" and "goodwill" give Africa ownership and control of its own resources, from oil to diamonds to soil to water? Create just, equitable terms of trade? Supply cheap antiretroviral drugs and accessible healthcare?

The financial goal of the tour is to raise $1.5 million for UCCF's orphan support programs, in donations and gifts from individuals and institutions. The foundation does not receive money from tickets sales of the tour, nor do any of the performers get paid. Financial statements and performance ratings for UCCF can be found on the site of independent charity evaluator:

To meet this goal, the young performers are on a 5-month, coast-to-coast tour of the US, during which they will play 31 cities in 20 states.

"If someone is tired, they don't have to dance," says Hefley. "We make sure to build in 2 days off for each 5 days of performance." The exception to this is a New York run of 7 shows in 6 days, but according to Hefley, "There are rest days going into that run, and afterwards."

A teacher travels with the troupe to monitor the education of the primary level children. The students are also given academic assignments by their teachers in Uganda. But the tour itself "is educational," according to Hefley. She cites trips to Disneyland and Universal Studios as examples of activities arranged for the children in their time off stage. And what are they like on stage?

The show is breathtaking. The New York Times is right to call it "first rate". Striking set and costumes, lighting design that enhances without dominating. The program offers the audience a spectrum of music and dance, drawing from all regions of Uganda, as well as material from Kenya, Rwanda, and the Congo. It showcases an impressive range of East African instruments, vocal styles, and complex, compelling movement.

The performers combine technical excellence with controlled exuberance to infuse the intricacy and grace of the dances with youthful power. Director Peter Kasule creates a show that allows individual personalities to emerge, from the showmanship of crowd-pleasing 6-year-old soloist, Miriam Namala to the dignity, superb athleticism, and reflective depth of the older dancers. Kasule's own charisma and stage presence are central to the show. At 24, he is a veteran performer of several Children of Uganda tours, and is currently on leave from his studies in music technology in Santa Fe. As narrator and master of ceremonies, he commands the auditorium, and the audience. He charms, beguiles and teases them into a sequence of arm movements, clapping out a harmonic rhythm, chanting in Luganda.

There are moments of delightful, subversive departure from the "traditional." As when we are told, gravely, that women were never allowed to touch African drums, as a drum touched by a woman would "lose its sound." In the very next piece, the boys abdicate the stage, the girls come on, and take over - on the drums.

So is Children of Uganda an uplifting and joyful experience? Without question.

Is it a good thing for American audiences to see these gifted and energetic performers, and to be educated about the context in which they make art? Absolutely.

Will the $1.5 million that the tour aims to raise, improve the lives of a small number of Ugandan children orphaned by AIDS? Yes.

Is it a valuable experience for young performers in any field to tour internationally, to perform on world class stages to packed houses, with state of the art production technology to showcase their talent? Of course.

Then why does Children of Uganda leave me with more questions than answers?

Consider, if you will, a parallel scenario for the US. Hurricane Katrina left 1.5 million Americans displaced, homeless, destitute. Devastated the rich cultures and communities of the African-American South. Thousands of children were orphaned. Suppose some benevolent well-meaning Nigerian banker, in search of meaning and life-purpose, decided to organize a global performing tour of orphans from Louisiana. The Children of New Orleans would tour the US, coast to coast, doing traditional dances of Creole and black Southern heritage. The tour would raise money for their own clothing, shelter, education, and the support of their "brothers and sisters" in orphanages.

Would America be able to confront itself in the shape of the Children of New Orleans? To accept that the tragedy of a natural disaster, combined with a criminal abandonment of black citizens by their own government, could become a "happy inspiring production about hope and ethnic dance?" Would the middle-class, theater-going audiences of America sit through "dance and drumming, light and joy", and emerge uplifted rather than unbearably disturbed? Or would they tremble with the exposure to their own indifference and complicity?

Dance does not destroy death or erase grief. Drums do not dissolve genocidal tragedies created from criminal indifference, corporate greed, centuries of exploitation. That the children of Uganda can still find a language of joy in their bodies, articulate it with grace and power, share it with such incredible generosity, should be a source of deepest shame and discomfort to audiences of the developed world. It should not leave them feeling good.

* Visit www.childrenofuganda.org for more information. Shailja Patel is a Kenyan Indian poet and spoken word artist. Visit www.shailja.com

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