Theatre for Development

One of the most dramatic changes, or evolutions of African theatre was the development of ‘Theatre for Development’ or TfD. TfD developed in Nigeria in roughly 1970. It was about teaching change through the art of drama, using it as an ‘instrument of social mobilisation’. It aimed to move away from traditional western theatre and other new theatrical creations, preferring to focus on audience participation. It created awareness of vital problems and issues that were affecting the lower classes and with their attention caught the drama would then try to inspire them in ways that they could improve their lives. This type of theatre remains culturally relevant, as well as socially, as it embraces art forms of the past. It uses the indigenous methods of song, dance, music and costume etc. as well as using different animal characters from native lore. These plays were/are an effective way of getting across a message that would otherwise be lost in writing to an illiterate audience.

Video: Theatre for Development AFRICA MALAWI feat. CRECCOM chancy mauluka TFD Trainings.mpg

http://www.youtube.com/watch?v=j0uPCA7LVTw

Transcript

(because the video is of terrible quality)

(there are blanks where i couldn't understand)

(and yes i painstakingly did it by hand and should get a first just for that effort alone)

This is one of the tunes that I used for the empowerment of communities to reflect on their situation and take up an active role towards addressing problems that effect their lives... Utilises indigenous forms of art, grammar, songs, dances, stories and symbols and any other form that the research team finds in that community.

TFD undergoes 5 major steps: 1)Participatory research 2) Analysis of research findings 3)play creation 4)Rehearsal 5)Performance (Recording)

Every step is participatory in that community members are involved in that process. When it comes to breaking through issues that are sensitive and hidden, TFD becomes an ideal effective tool for information gathering, verification and empowerment.

The depth of the information collected is derived from the nature of the information gathering process where TFD residuals are deployed to stay at their sides where TFD activities shall be conducted. They stay in the same village houses as those of the locals and are involved in the routine household chores of the people and participate in the ceremonial activities in the area. Be it traditional dances, funerals and any other gathering that celebrate life and society.

In the process they gather information through observation, listening and informal interviews without necessarily carrying a paper and pen for recording info. This process builds trust by community members in the residuals, they are able to share with them hidden and personal issues about their lives.

--- Woman talks of her child's rape

The collected information is later recorded in the night by the residuals, analysed and later processed into ____ plays which are performed on an agreed date with the community members. Therefore the plats contain episodes that reflect real life situations as were collected. These situations are very ___, questions posed to the community members who at this moment are both the audience and the performers. By responding to the questions about the play the people find they are discussing their own situations in life.

Through talking to different target groups facts are not only verified but also found making TFD play a complimentary research too on its own. Through the involvement of different stake holders the TFD play becomes a forum for effective, efficient and realistic action planning. The wide spectrum of different target groups that TFD attracts provides opportune time for effective _____

TFD makes project goals and objectives clear to all. TFD plays motivate the community towards achieving those goals by depicting the expected indicators of success that may be achieved by implementing the suggestive plans of action.