Drama for Development, Essay Example

Theatre for Development (TFD) as a communication tool to effect community development and progress hinges on the principle that the needs of the community must be a priority and the group’s motivation for using TFD and its participation is the basis for all efforts that are made. The imposition of ideas from the top and from outside entities not part of the community is frowned upon and the focus on fostering grassroots involvement in considered very important. The involvement of partnering ministries is also important and serves to support the TFD workshops. Ministries and their personnel are sourced from national government entities and NGOs seeking partnerships in which to help facilitate change.

Literature Review

The experimental phases of Theatre for Development began with a top-down development approach to economic projects in Swaziland that were implemented among the farming communities. After causing disastrous results, and in order to try and fix the mistake and reverse the process of economic breakdown that occurred due to the ill-conceived government funded initiative, they looked to begin development program interventions through the use of theatre. This type of theatre, Theatre For Development or TFD, was put in place to engage communities in their own general economic and social development, giving them the tools to help solve problems from within. Swaziland funded the training of non-formal actors for the purpose of engaging communities in their own development. Some artists became involved in the development of communities and began bringing their performances to Swazi communities.

The government’s creation of the non-profit group, CANGO,created as the general NGO in charge of voicing concerns for the poor, the disadvantaged, and the marginalized. The group’s creation was facilitated by the increased interaction between government entities and NGO’s and until early in the21^st century, the group’s focus was not based upon the facilitation of self-determination among poor, marginalized populations in Swaziland. In 2001, the group chose to pursue a new goal, one in which would put them in a place to help communities make their own positive changes and progress towards general development. CANGO sought to alleviate the major problems of poverty that were pervasive among these populations they were seeking to help and then allow communities to development to become populations without the problems of poverty, disuse, discrimination, nor socioeconomic instability.

Theatre for Development was first introduced as non-participatory tool, but came to incorporate the community in song, dances, drumming, poetry, riddles, and jokes. This was attempted in order to promote the Swazi culture through the TFD programs while celebrating their contemporary national pride. Around 1996, there was a growing presence of youth theatre groups occurring that demonstrated a likeness to the modern TFD approaches that are being implemented in modern Africa today. The groups not only pushed for the general development goals that TFD had traditional worked towards, but also incorporated gender issues into their message in order to address specific problems they felt were important to their communities.

The beginning stages of TFD were general in nature and could not be tailored to a specific population’s issues and problems as well as failing to look at the population’s motivations and participation as the basis of all efforts that were occurring within a given community. Imposition of principles and framework from the top was allowed at this point in the evolution and transition of the older versions and ideas of TFD to the modern framework and there was not much focus on grassroots and community involvement as a priority, though there was a focus on the incorporation of Swazi national traditions that involved community participation. NGOs began to become involved in the efforts at the very beginning, but the non-profits have become more important to the equation during the modern era.

The groups that were being formed in neighboring nations in Africa influenced the youth initiatives and groups createdwithin Swaziland. By 2004, the government of Swaziland took note that TFD was also being used to target adults as well as youth in Botswana effectively. Many Swazi saw the programs and groups as an activity for only the youth of the country, but the targeting of adults with the programs was successful integrated allowing engagement of an entire community at once. The creation of these changes to TFD happened around the same time that the effects of the HIV/AIDS pandemic were beginning to be felt around the nation. TFD was used in the cooperative efforts of NGO’s and the government to try and reach out to the population in order to address the huge problem. With the occurrence of the pandemic came the change of focus from general development to HIV/AIDS and health issues. TFD programs began serving as tools for communication to fight the pandemic and public support poured in from around the nation for the Minister of Health, and his choice to focus on health issues facing the country, instead of general development issues. Requests to stakeholders to help spread information on the problem led to more NGOs involvement and the increased use of TFD to facilitate informational dissemination nationally. TFD connects young and old community members into one community dialogue allowing problems to be addressed by those who had to deal with these issues. This style of communication allows dialogues to facilitate changes and awareness in such a way that had never been effectively done before in a better targeted and effective style. A move towards incorporating the community’s priorities and concerns before tailoring workshops for their community specifically began increasing TFD effectiveness.Imposition of ideas from outside officials is still a relevant concern, but grassroots organizing has taken steps forward. NGOs involvement continues as well.

The Siphocosini Workshop

This TFD workshop stems from the poverty and boredom induced apathy of the younger population in Northern Swaziland. A group was created in response to this issue among the youth of the community and the older generations of the population became involve subsequently in order to help foster the successful implementation of effective changes in their community’s youth.This is a prime example of the use of TFD in a modified version that conforms to the motivations of the community in which it is being used. The workshop that took place held its main goal to be the modification of harmful behavior patterns through the use of peer education among the younger community population. The Chairperson, however, did upset the post-play discussion by interjecting outside opinions and ideas. This is one example of top-down interference and is not looked upon in a favorable manner in the TFD approach and is considered insensitive. The discussion went on to address the break between the play and reality regarding issues of a social and economic nature as well as addressing the roles of women and the issue of sexism. The workshop was considered quite successful and led to awareness of the unique set of ills facing their own community, while also beginning a dialogue towards progressive changes for the betterment of their society as a whole. This group in particular was more outspoken than most other youth groups that used TFD as a tool for change when looking at the relationship between the younger generation and their elders. The new levels of social awareness to the consequences of the actions of one for the whole community was one of the biggest successes for this workshop as it led to a deeper understanding of how one criminal’s actions can harm the entire group. The main ideas of TFD are exhibited in this workshop, though the top-down imposition of ideas by outside facilitators did upset the discussions briefly.

The ZiboneleWorkshop

This workshop produced a play entitled, when translated, “Let Us Talk.” This group was established to facilitate changes that group members felt were important within their own community and needed to be targeted and addressed. After severe droughts hit the area, economic hardship and poverty had become the norm and the effects of these hardships were what the group sought to bring up and believed that they needed to be dealt with. In partnership with the Swaziland Red Cross, the youth group staged the workshop with the required theme of HIV/AIDS and health issues. It lasted nine days and at the end of the workshop, the play was staged for members of the Finnish Red Cross. The play was then again to be performed by the group for the community at large the next day. The only critique from the elders related to the presentation of traditional garb and presentation and did not target the issues that the play wished to present to the community population. After a successful performance for the community, the Red Cross distributed food to the group. The issues and problems stemming from the lack of communication between parents and youth as well as sexual abuse were integrated into the program in order to modify the main themes in such a way that targeted their specific populace on issues important to their own community. They also made a point to address the issue of communication between societal factions in the community, specifically targeting women’s roles. For this group these activities were a progressive step forward and were ultimately successful because of the involvement of the older generations of the community. This workshop was a success and effectively exhibits the TFD approach as acommunications tool.

Men-only Discussion Forums

This workshop supported by UNICEF, differs due to the nature of the community’s participation style. Professional actors were hired for the performance and discussions were held following the play on the issues presented. The women of the community established that men within their community were not supporting the female population’s attempts to combat the health and pandemic problems that the area faced. Men are in charge of most aspects of domesticlife in the Swazi culture with little women could do. Their call for help led to a workshop and the creation of a males-only forum for discussions on community health and societal issues.The series of workshops, including the male-only forum, have not helped to bring about permanent changes. The male-only discussionshave created more awareness by using an environment from within cultural contexts in which to reflect and discuss.This has led to some modifications of behaviors and has helped in addressing problems previously ignored and denied. This type of workshop attempts to establish small group discussions without involvement of larger organizations or outside entities, instead relying upon efforts of community volunteers. The outcomes have been a mixed bag. There have not been any steps towards a change towards an environment in which the women and men of the community can engage each other as equals in order to help find community solutions. The focus on grassroots is notable and allowsfor more hands-on community involvement while better targeting the motivations for the workshop and the concerns behind them.

Conclusions

The ultimate goal of Theatre for Development (TFD) is the changing of behaviors and attitudes in a positive manner that serves the greater good of the community. Each workshop notes positive, even if limited, progress and this is a step forward. The increase in awareness experiencedbecause of TFD has been tangible and productive, even with mixed results.

References

Knight, G., Brown, C. (2005).Theatre For Development Source Book.The Village Volunteers.

Kamlongera, C. (2005) Theatre for Development in Africa.Media &Glocal Change: Rethinking Communication for Development,Hemer, O., Tufte, T. (ed) pp. 435-52.

Journiette, I.B. (2013). Theater as the Elicitive Third Space.Malmö University.

Byam, L.D. (1999). Community in Motion: Theatre for Development in Africa. Westport, CT. Bergin & Garvey.