"Based on Mda's experience in Southern Africa, the book shows how drama and theatre can be used effectively in social development. Mda argues, that communication should be democratized, that it should increase participation and promote equity and self-reliance. If theatre is to play a role in the de
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velopment concerns faced by communities, a carefully thought-out method of combining intervention and participation is needed to provide a genuine two-way communication to revitalize cultural expression." (Mothers & Children, 2/1994, page 8)
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"Comprehensive study of popular theater forms. Describes experiences of theater workshops in Cameroon and Zimbabwe, as well as development-oriented theater projects in Nicaragua, India Philippines, and Bangladesh. The main section examines four dance-based projects between 1982 and 1986 in which the
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author was involved as an "animator." "For anyone seeking an overview of the subject, Mlama's study is a valuable resource. Despite her personal involvement, she treats the subject in a detached manner and frequently refers to failures and problems as well." (E + Z, vol. 37, nr. 1, 1996, page 25)
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"Focusing on the experience of one of seven working grous at a theater-for-development workshop in Zimbabwe, this report details the process followed by many groups, and reveals some of the major learnings, dilemmas, contradictions, strengths and limitng factors found in a practical vilaage-based th
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eater-for-development process. A brief discussion of theater-for-development (TFD) presents this drama form as an experimental collaborative process designed to take theater out of urban enclaves and make it accessible to the masses, presenting such common concerns as crop production, water shortages, immunization, literacy, and family planning. A day-by-day diary account of this working group illustrates an overview of, and specific tasks involved with, the production of a "theater pungwe" - people's theater. A TFD model lists educational objectives for the drama process and defines the workshop objectives, which are (1) to train development cadres and theater artists in theater-for-development, and (2) to start a TFD program in Murewa area of Zimbabwe as a training and popular education/culture program. The report's concluding sections provide an analysis of the workshop, including constraints, relationship with villagers, organizational strategy, and team work. An extensive bibliography is included." (www.eric.ed.gov)
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"Case studies and seminar reports are provided that "were presented at an international seminar to examine field experiences in using a culture-based approach to nonformal education. Part 1, containing an introductory paper and nine case studies, 'focuses on indigenous institutions and processes in
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health, family planning, agriculture, basic education, and conscientization. The introductory paper discusses indigenous sociocultural forms as a basis for nonformal education and development. Seven countries are represented in the case studies: Indonesia, Bolivia, Java' (Indonesia), Upper Volta, Botswana, India, and Bali (Indonesia). Section II focuses on the performing arts in both mass campaigns and community nonformal education programs. An introductory paper overviews folk media, popular theater, and conflitting strategies for social change in the Third World. The seven case studies consider the specific strategies used in Brazil, Sierra Leone, China, India, Mexico, Jamaica, arid Africa. Section III contains the seminar reports developed from discussions of the four regional working groups: Latin America, Africa and the Caribbean, South Asia, and Southeast Asia. A summary of plenary .discussions is also provided." (ERIC document resumé)
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