Why Theatre?
Methodology
-
 Theatre for Development
originated in the late 1970’s
as an effective and appropriate medium for communicating with rural communities
in developing countries where existing media systems had failed to serve the
needs of development in Africa. The failure was due to the cultural gap existing
between the urban class who were in charge of those media, and the rural
communities.
-
Theatre is now widely regarded as an effective medium for spreading information
in rural communities.
-
It is democratic
–
audiences play a major role in producing and distributing messages;
-
It is de-centralised;
-
It is capable of integrating indigenous and popular systems of
communication;
-
It is technologically appropriate, relying on human resources;
-
It uses interpersonal channels, rather than the mediated channels of
electronic and print media.
(Zakes Mda, When People Play People)
-
Non-threatening communication techniques:
Theatre has the additional advantage of being an immediate form of
communication, which addresses problems in an integrated manner. The
audience is engaged emotionally and mentally, and the use of humour and other
dramatic devices encourage participants to speak without the inhibitions which
formal meetings or other communication systems perpetuate.
-
Participation:
SEKA is committed to interactive discussion within the communities that is
capable of changing attitudes and generating change.
“To
create messages does not mean merely to respond to messages created by external
agents about innovations, but to initiate the process of communication, so that
the most disadvantaged members in the community, involved in the culture of
silence, can express their political, social and economic needs.”
(Zakes Mda). Seka’s
intensive research and participatory method allows people to take ownership of
their problems as well as the solutions to these issues.
-
Grass-roots decision making:
The processes that Seka employs are guided by the needs of the community, rather
than imposing an outside agenda. Two way communication allows the content of
future development programmes to be shaped according to these needs.
-
Action and follow-up:
When used effectively, Theatre stimulates action rather than allowing debate to
stagnate at a ‘talk-shop’
level. SEKA facilitates results-oriented programmes using the following
structure:
.jpg)
The Process:
-
Gathering information:
The actor-researchers, who are trained in action research methodology, live in
the targeted villages for a specified amount of time; interacting, observing and
getting to grips with the issues, people’s
views, concerns and hopes.
Nothing is imposed; the local headmen and chiefs
guide all activities.
-
Developing the script(s):
Appropriate drama scripts are then developed, taking into account the main
issues that have risen to the surface. Each script is specifically made to
tackle the issues that need to be addressed in each community.
-
.JPG) Performance:
The day of the performance is a big village event. Other groups from the village
will come to perform and dance; making it a collective effort that everyone is
involved in. All stakeholders are invited; government officials, chiefs,
headmen, children, parents and any other stakeholder specific to the area. The
performance itself is very participatory, allowing the audience to verify our
findings, as well as take ownership and come up with solutions to their own
problems.
-
Action Plans and Follow up:
The Seka team and appropriate field workers will then act on the communities’
suggested interventions.
|
