Program Report/ Oragize, Show, and Empower

Organize, show and empower A handbook for Theatre for Development and Education Egbert Wits

Since the start of time, theatre has been used as a means to share information and feelings which confirm or challenge existing beliefs. Theatre is performed live, ‘here and now,’ directly engaging with its audiences. Theatre persuades, is powerful and almost impossible to control.

Organize, Show and Empower was written in the belief that everybody has the capacity to use theatre’s stimulating and convincing powers to create a more just and fair society. Anyone interested in using theatre for development and education with the aim to Empower participants Raise awareness for social issues Produce positive images for underrepresented groups in society will find this handbook extremely helpful. The process of empowerment and creation is broken down in simple steps, offering a straightforward curriculum of theatre for development and education anyone can use.

Since the start of time, theatre has been used as a means to share information and feelings which confirm or challenge existing beliefs. Theatre is performed live, ‘here and now,’ directly engaging with its audiences. Theatre persuades, is powerful and almost impossible to control.

Organize, Show and Empower was written in the belief that everybody has the capacity to use theatre’s stimulating and convincing powers to create a more just and fair society. Anyone interested in using theatre for development and education with the aim to Empower participants Raise awareness for social issues Produce positive images for underrepresented groups in society will find this handbook extremely helpful. The process of empowerment and creation is broken down in simple steps, offering a straightforward curriculum of theatre for development and education anyone can use.

Organize, show and empower

A handbook for Theatre for Development and Education

Egbert Wits 1

Listening to the facilitator's instructions at a theatre for development workshop, Bandung, TDE 2010 2

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Contents

Domestic workers parade along the beach to gather an audience for their performance 'Ora Obah Ora Mamah', Bantul, TDE 2011

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Acknowledgements This handbook could not have been written without the support of Theatre Embassy and Yayasan Kelola, the two organizations that initiated the Theatre for Development and Education (TDE) program in 2009. Financial support from PSO made the start-up of the TDE program possible.

Enormous gratitude is owed to all the Indonesian theatre practitioners, groups and communities that responded so enthusiastically to our program. Also a word of thanks to all the inspiring theatre practitioners I have met around the world: keep up the good work, keep struggling, keep making this world a more beautiful place.

Also Sharon Joosen and Babette Stroes, students from the Theatre School in Utrecht, should be mentioned here. Their internship assignment to write down practical exercises helped set-up a great database of exercises that I could use. Finally I would like to thank Carol Chan and Hilary Manley for looking at my English. Their corrections have contributed considerably to the final result of this book.

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01 Introduction

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Introduction

Since 2009 the Theatre for Development and Education (TDE) program of Yayasan Kelola, in collaboration with Theatre Embassy, has been active in Indonesia. During the past three years we are witnessing an increasing level of interest in the use of TDE, not only amongst Indonesian artists and theatre practitioners, but also amongst activists, NGOs and local governments. Very often the people we encounter are aware of theatre for development, community theatre, or using theatre within development cooperation. Unfortunately many still lack the motivation to actually start using it.

We believe this lack of motivation is not caused by a lack of will, but more by a lack of knowledge, skills and references regarding the use of a creative method like theatre.

development. Using TDE is creating a way to change society for the better.

Since the start of time, theatre has been used as a means to share information and feelings and to confirm or challenge existing beliefs.

Theatre is performed live, here and now, directly engaging with audiences; making it powerful and almost impossible to control.

It is no wonder therefore, that theatre has been loved and feared amongst political and military leaders, and the powerful classes of society. We can witness, for instance, the ‘theatre’ that goes on in military parades or during election time. Nonetheless, theatre cannot be controlled, and it is not something exclusively owned by the powerful classes.

Everybody has the capacity to use theatre’s creatively stimulating and convincing powers.

This book contributes to the available knowledge on TDE in Indonesia and the rest of the world. It offers practical information and descriptions of techniques and exercises.

A lot has been written about the benefits of using applied theatre. Our stance is that TDE teaches participants how to “get organized” more effectively in a fun and meaningful way.

It instills more self-confidence in everyone involved and active participants develop a more critical, open and reflective mindset.

TDE raises awareness for social issues and potentially turns every participant into an agent of change. Performances and presentations at the end of a TDE process are engaging for both audiences and creators.

They challenge existing beliefs, prejudices, attitudes and behavioral patterns. TDE is not about using theatre as art for the sake of art, it is about using art as a means for

We hope you are inspired by TDE and will one day put it into practice. If you get lost, need more information, or would like to get introduced to Indonesian theatre groups or arts institutions, please feel free to contact us.

Finally we should mention that although basic theatre skills are vital within any TDE process, this handbook will not elaborate on them. If you are planning to start a TDE process without having any background or skills in theatre, it is wise to consult experienced theatre practitioners in your vicinity before starting any activities.

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Who is this book for?

This book is for anyone interested in using creative and artistic working methods with the aim to

educational work. TDE can be taught as an extra-curricular activity at high-schools, or used in class to address specific issues like bullying, or class differences and their impact on society.

Empower participants Raise awareness for social issues Produce positive images for underrepresented groups in society Create a more just and fair society

Basically anyone passionate about changing society for the better should learn about TDE’s potential.

What is TDE? TDE is a form of participatory theatre used within a development process. In other words it is using theatre to communicate, learn and share information about certain issues, in order to bring about a positive change of attitude, working ethos, or lifestyle. TDE can be about any issue: violence, social responsibility, diversity, respect, healthcare, better management practices, access to justice, discrimination, child labor, education, being a good parent; the list is endless.

You could be an actor, NGO worker, activist, teacher, artist or simply active within civil society. If you, or the organization you represent, are passionate about social issues, offer support to marginalized groups within society and want to positively develop and raise awareness for their livelihoods, TDE can be an excellent addition to what you are doing. If you are supporting individual community members, and would like to further empower them to support, organize and educate their own communities and peers, TDE is an appropriate and effective tool. No one can speak better about social issues than the people directly influenced by them. By giving these ‘often unheard’ voices a chance to speak, the wider communities can be informed honestly and in a more convincing way, compared to letting external ‘experts’ do the talking.

The biggest difference with ‘traditional’ theatre is that TDE is not just about a play being performed by actors and an audience watching it. TDE gets both actors and audience members involved in the play; creating and discussing its content, engaging in dialogue over what the play should be about. What stories should it tell? How should the stories end? How does it all relate to everyday life? TDE performances are generally not about happy endings. We like provocative endings, or at least endings that stimulate audiences to think.

TDE offers existing theatre groups a chance to get more involved with other social groups and communities. Theatre groups can open up and invite non-actors (civilians) to be part of workshops and creative processes. Anyone can be part of a theatrical performance. TDE offers opportunities to take theatre out of the official arts-buildings and (back) onto the streets. Last but not least, teachers will find many of the methods and exercises described in this book useful for their

TDE’s primary goal is to engage with a target audience regarding a certain issue and to involve them in all aspects of the process of telling that story. Theatre gives people the space to reformulate their point of view and opinion. TDE is a democratic process 9

involving people’s imagination, experiences and thoughts. Making a TDE performance is a learning process, where participants analyze, discuss and identify problems and opportunities. Theatrical exercises, rehearsals and a (public) presentation at the end, guide this process, which challenges participants’ views and beliefs in a fun and creative way.

TDE is about equity, equality and openness, meaning everyone gets involved, creates, and improvises freely without fear. Group discussions and evaluations are a constant part of any TDE process, allowing everyone to have equal access and right to influence the process and performances.

“The word theatre comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation.”

(Stella Adler)

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Performance TANAH #2, Alam Inspirasi Kita, TDE 2012 11

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02 Background of the Theatre for Development and Education program

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Background of the Theatre for Development and Education program

Background of the Theatre for Development and Education program The TDE program in Indonesia is supported and developed by Theatre Embassy and Yayasan Kelola. Things started in November 2009, when Egbert Wits a young Dutch professional, was sent abroad to Jakarta as a Theatre Ambassador through PSO1. Egbert joined the Kelola team and started setting up the Teater Pemberdayaan program, as it is called in Indonesia. At the time of writing the TDE program is still in its pilot phase and Kelola’s youngest program.

believes its creative processes and humane focus, with trust, equity and equality as fundamental principles, are able to bridge this gap.

Yayasan Kelola As a national non-profit organization founded in 1999 to enhance and promote the vitality of Indonesian arts through providing access to learning opportunities, funding, and information, Kelola also promotes cultural exchange by facilitating artists and art practitioners to engage in dialogue, gain and share skills and knowledge, as well as to build networks within Indonesia and with the international cultural communities.

The idea behind the TDE program is to offer Indonesian artists learning opportunities within the field of theatre for development and education. Along the way we have discovered a demand for the use of creative methodologies and theatre (artists) within the development sector in Indonesia. Several Indonesian and international development organizations (including many NGOs) struggle to truly engage with their target audiences and are lacking the creativity and inventiveness to find new methods to do so. Often the involvement of Indonesian communities within development processes and the sense of ownership felt over its results are not satisfactory. At international seminars and conferences similar stories were heard from theatre for development practitioners from other countries. TDE

Kelola’s annual educational programs are designed as a direct response to the needs and concerns articulated by the Indonesian visual arts, performing arts and film community. The programs offer artist and art practitioners opportunities to improve their skills, share knowledge and widen their network of contacts within the country and with the international arts communities. Kelola’s programs are competitive and applicants are selected in a transparent process by an independent panel of peers whose members change on a regular basis. As the needs of the Indonesian arts community shift and change, Kelola’s program will change in response.

1 PSO was a Dutch organisation aimed at 1. PSO was a Dutch organisation aimed atinternational building building organisational capacity through organisational through international cooperation in capacity developing countries.

Due to the cooperation developing countries.

Due to the tightening ofin the Dutch budget for international tightening ofand the development Dutch budgetaid, for international cooperation PSO was forced to cooperation close in 2012.and development aid, PSO was forced to close in 2012.

www.kelola.or.id

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Theatre Embassy Theatre Embassy (founded 2001, Amsterdam) is an international theatre organization that works in the field of capacity building for the performing arts in Asia, Africa and Latin America. In our theatre for education work we focus on sociocultural, environmental and political topics that are urgent in the countries we work in.

Theatre Embassy believes that the magic, power of expression, historical awareness and innovative capacity of theatre contribute to the development of the world’s societies and civilizations.

In view of this unique focus and efforts Theatre Embassy can justifiably be referred to as an innovative development organization, which is active at the level of the development of creative network links. Theatre Embassy works with partner organizations in Africa, Latin-America and Asia to enhance the cultural infrastructure and develop a global cultural network. www.theatre-embassy.org Activities within the TDE program Existing for almost three years the TDE program has been active within various processes. We would like to share some of these activities. We have divided them into product- and process-orientated approaches, each having different expectations, outcomes and working methods

“In linking theatre makers to the machinery of aid organizations we offer services in which theatre is deployed as an exclusive means of communication and expression.�

Product-orientated approach The product-orientated approach values high esthetics and excellent performances.

It uses TDE mainly as an educational tool.

The process is focused primarily on the performance (product) and professional artists and actors are used to present certain issues using theatre. The imaginative power and capacity of theatre to touch people hearts is fully utilized here. The persuasiveness of the performance and the communicated message is strong and of high artistic quality, which makes the performance suitable for lobby and advocacy: it can be shown to people in high positions, who have the power to makes changes in policies, laws or other regulations from the top.

(Berith Danse, artistic director of Theatre Embassy) The creative encounters and cooperation with partners are based on equality. The joint creation of theatre pivots on diversity and reciprocity. They enter into creative cooperation with artists who have the courage to stick their neck out in societies where the political or economic conditions complicate the realization of certain forms of art expression. These artists engage with their social surroundings and often operate in communities with restricted access to artistic schooling and other forms of incentive and inspiration for their work.

The TDE program has used this productorientated approach for rights issues of domestic workers. The main goal was advocacy towards the Indonesian government and the start of a dialogue on 15

rights issues of domestic workers within the KSBSI (Indonesian labor union). The play was staged in Jakarta, Yogyakarta and Bandung and TDE invited as many legislators and labor union activists as possible. The play, titled Bunga di Comberan (Flowers in a Gutter), boosted the confidence of the domestic workers’ movement in Indonesia. Their struggle for recognition by the Indonesian government was given extra weight through the unification of the KSBSI and existing smaller domestic workers’ movements.

Bunga di Comberan, in a sense, marked this unification, manifesting it on stage, for all to see.

The remainder of this handbook will focus mainly on this process-orientated approach.

What are its potentials? How to execute such a process? And what is required from facilitators guiding such a process?

The TDE program has already given various workshops in which we train future TDE facilitators. Sometimes we have used the historic Teater Rakyat3 method, sometimes we combined existing theatre for development practices. The goal of these trainings and workshops is always to make interested artists, theatre practitioners and activists familiar with the process-orientated approach.

A well planned press strategy, including press conferences, open rehearsals, and attractive documentation are particularly important here. The videos2 and photos of the performance are used by all involved parties and the clippings of newspaper articles form valuable resources.

Other workshops and trainings focusing on specific aspects of TDE by (international) experts have also been given. In the future we hope to host more meetings, exchanges and workshops, thereby offering learning opportunities to Indonesian artists, NGO workers and activists interested in the use of TDE.

Process-orientated The process-orientated approach sees TDE mainly as a learning process and involves the target group directly. The actual performance, or presentation as we like to call it, is of lesser importance. The learning process itself, in other words: what participants learn-while-doing, is most important. Besides being a learning process for all involved, the process-orientated approach contains a strong empowerment tool. Participants will experience and manifest their right to express themselves, while becoming more self-conscious. You can only fight for your rights once you know what your rights are and are conscious of the law.

A combination of both It is possible to combine both the processand product-orientated approach. This requires professional artists rooted within a community, or an experienced community theatre group that has been working together for a long time. Under these circumstances a combination of a productand process-orientated approach can be successful. Examples of such groups4 and 3 A once popular ‘people’s theatre’ movement, 3.

A once popular ‘people’s theatre’ movement, mostly mostly active in the Yogyakarta region of Indonesia from active the Yogyakarta region of Indonesia 1985 1985 toin1994.

For a full discussion and morefrom information to a fullsee: discussion and on more on on1994.

TeaterFor Rakyat Resistance theinformation National Stage: Teater see: Resistance onOrder the National Stage: TheaterRakyat and Politics in Late New Indonesia, by Theater Politics in Late New Order Indonesia, by Micheal and Bodden (2010), chapter 2.

Micheal Bodden (2010), chapter 2.

4 See Eugene van Erven’s excellent book:

2 The behind the scenes video of Bunga di Comberan can be seen online: http://www.youtube.

2. The behind the scenes video of Bunga di Comberan com/watch?v=4gLMypDS5Qs can be seen online: http://www.youtube.com/ watch?v=4gLMypDS5Qs

4. See Eugene van Erven’s excellent book: Community Theatre, Global Perspectives for various international examples of such groups.

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artists can be found around the world, but are few in number and often appear and fade out all too quickly.

- and product - oriented approach, one could choose for a double-approach as the TDE program did in the domestic workers project. The first trajectory involved domestic workers in participatory workshops and presentations6, while a second parallel trajectory was a professional theatre play (Bunga di Comberan) for advocacy purposes on domestic worker rights.

The TDE program collaborated with theatre director Iman Soleh and the CCL community in 2010, to perform a play about land (ab) use issues within Indonesia. Civilians of Northern-Bandung and Lembang (WestJava) were invited to join this process, which stirred up many issues and got people talking about the recent drastic changes happening to Lembang’s landscape. The mix of actors and non-actors, directed by Iman Soleh, were able to produce a play that could be seen and enjoyed by all audiences, meeting mainstream theatre quality standards, but also being a learning process for many of the participants involved. The title of the play was TANAH5.

Platform for knowledge, networking and collaboration Apart from offering learning opportunities to Indonesian theatre artists and social activists the TDE program is a platform for knowledge, networking and collaboration. International groups interested in using theatre for development in Indonesia may contact us for information and support.

“Development” is a complex, comprehensive 6 An example of the TDE’s program work with and multidimensional domestic workers can be seen online: http://www. process which extends youtube.com/watch?v=H-1gFf_n_vc beyond mere economic growth, incorporates all dimensions of life and all the energies of a community, all of whose members are called upon to make a contribution and expect to share in the benefits”.

Using both a product- and process-orientated approach runs many risks and should only be done by established theatre practitioners.

If a process-orientated play is promoted too much as a mainstream performance, the stress levels of participants will rise and audience expectations are usually not met.

False pretensions like these could ruin a TDE effort. Be honest with yourself and the people you are working with, a processorientated TDE presentation should not be judged and valued as an autonomous artistic piece, or professional theatre play, so avoid this from happening by placing it in the right context.

Another option is not to combine both approaches, but to use them complementary. Instead of merging the process

(UNESCO World Conference on Cultural Policies, Mexico, 1982)

Community Theatre, Global Perspectives for various international examples of such groups.

5. A short video of TANAH can be seen online: http:// 5 A short video of TANAH can be seen online: www.youtube.com/watch?v=M84_V9QoIFc http://www.youtube.com/watch?v=M84_V9QoIFc

6. An example of the TDE’s program work with domestic workers can be seen online: http://www.youtube.com/ watch?v=H-1gFf_n_vc 17

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(left) Frontpage of the Bunga di Comberan brochure, TDE 2011 (right above/below) Interaction with the audience, TANAH #2, Alam Inspirasi Kita, TDE 2012

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03 Honestly; does TDE work?

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Honestly; does TDE work?

In this chapter we will look at the pros and cons of using TDE. A SWOT analysis of TDE is made, in order to reveal the strengths, weaknesses, opportunities and threats of using theatre as a means for development.

for domestic workers to speak, or group B to present their scene, the dominant voices, or the more powerful group A, will have to listen. Ideally in every TDE process and presentation all voices are heard and considered of equal importance.

STRENGTHS OF TDE Context specific and culturally sensitive One of TDE’s strengths is its ability to be very context specific and culturally sensitive.

Each presentation can be adjusted, adapted or created for a specific audience. Local languages can be used and each issue can be treated according to specific (local) cultural values. If, for instance, talking about sex is a taboo, or very awkward, theatre can bring objects to life and have them discuss things.

Having curtains and bedside tables talking about sex avoids personal involvement. In other words: whatever the issue, applied theatre guarantees to get people talking.

Breaking this ‘uncomfortable’ silence and opening people up, allows for dialogue to take place. Through partaking in these discussions people will hopefully understand each other better and may ultimately even change their attitude or lifestyle.

Theatre can also give marginal groups within society a voice. A performance starring only street-children, for instance, gives these kids an opportunity to tell their story. Something they would normally not be able to do.

Simplicity When TDE presentations are kept simple, everyone can understand the content. No previous knowledge is needed and there should not be an educational gap between the audience and what is presented. TDE practitioners are convinced that watching theatre comes natural to all humans and make sure their presentations reflect this idea.

Social Cohesion Presentations of a TDE process act as social lubricant, bringing people together.

When the people on stage are part of the same community as the audience, this effect gets even stronger. Social linkages like this stimulate ownership and make communication effective. People tend to listen better to someone from their own peer group. A development aid worker or social activist, whom the audience has never seen before would be far less convincing. This social ‘lubricating’ link, gluing the audience and the performers together is an additional strength of using TDE.

Unheard voices A further strength of TDE is its capability to bring out unheard voices. We all know that during meetings or discussions often the same people do most of the talking, whilst others sit still, frown, and keep their thoughts to themselves. The participative and open methods of TDE allow, we might even say force, everyone to speak. Facilitators are keen on giving everybody a turn. A theatrical setting can also force people to be quiet and listen. For example when it is time 22

Excellent communicator All of the above strengths emphasize one point. TDE is an excellent communicator. Its context sensitivity and ability to get people talking and thinking, outmuscles other methods of communication such as lectures, films, brochures, radio and television.

all participants is always a challenge. This weakness is felt most at the start of a new process. Once things get underway meetings usually become part of the daily routine.

Patience TDE requires a long breath and demands sustainability; partnerships with other groups or organizations should be long term, three to five years at least. Shorter, onetime projects or workshops, are often not effective. Participants do not get a chance to put their newly acquired skills into practice, or lack the means to coordinate and organize ongoing efforts. Monitoring the development of groups and former participants then becomes part of the facilitators’ duties.

Besides the above-mentioned points TDE is also: Portable. It can be presented in different places. (A theatrical tour) Recordable. It can be spread to wider audiences using audio or video. (Youtube) Multi-dimensional. It can (and should!) be combined with other methods. (Pamphlets, info-stands, other NGOs, psychological support) Open. Everyone is allowed to join and participate. Entry levels are low.

Learning By Doing. Participants learn while they are active.

Persuasive. Powerful plays influence people and policies.

Building a critical mindset. Participants analyze their own behaviors and attitudes.

Quality of performances In the process-oriented approach the presentations are usually not of high artistic quality. This makes their promotion to wider (outside) audiences problematic. Over time, as the participants gain experience, the presentations will get better. It is a long process of trial and error. Product-orientated approaches do not have this problem, since they are created by professional artists.

WEAKNESSES OF TDE Time consuming and labor-intensive TDE is a time consuming and labor-intensive method, making it relatively expensive, especially if you are working with paid professionals (which we would recommend).

The chances of working in areas where there are no trained facilitators are quite large. This means that the transport and accommodation costs of facilitators add to the bill.

Limited amount of participants The maximum number of people that can actively participate is limited to approximately thirty. The intensity of the process forces TDE to work with medium sized groups like these. According to many international NGOs this is a weakness, since effects only happen on a small scale.

Qualitative results Results are for the most part intangible.

The positive effects of a TDE process and presentation are difficult to measure. Most of the changes and developments take place within the participants. Their actions should

Managing a group TDE processes involve working with groups. Managing time and transport for 23

bring about the intended positive change.

Although various indicators can be used to measure the success of a TDE process, obtaining hard, quantitative evidence is problematic.

themselves to the public. Lobbying or advocacy organizations, for instance, who are not well-known to the general public, get a chance to show themselves through these presentations.

OPPORTUNITIES OF TDE Potential goldmine Every person is in principle a source of talent and inspiration. Often these talents do not come to the surface because people stay within their comfort zones or receive insufficient stimulation to discover their talents. TDE offers an excellent opportunity for people to explore their hidden talents.

We believe everyone is a goldmine waiting to be discovered.

Job opportunities TDE can offer artists and facilitators job opportunities. International NGOs or companies can become interested in their services. Many artists around the world, struggle to make ends meet. Becoming a paid facilitator is a great opportunity to gain experience and earn some extra money. TDE might just offer you the opportunity to get the attention of an NGO. THREATS OF TDE Effects of funding Financial issues are a threat to TDE’s sustainability. If participants are accustomed to receiving transportation fees during a process they might be less inclined to continue once the funding is gone. Getting enough outside support, be it financial or in kind, is therefore always a threat.

Unifying capabilities TDE is able to unite groups that are difficult to organize or approach. Drug addicts or prostitutes, for instance, might not be interested in joining formal trainings.

The informal and fun approach TDE uses offers opportunities in working with such marginalized groups.

Multi-dimensional TDE is a multidimensional approach and should be open for collaboration at all times.

If during the process issues arise that are out of the groups scope to handle, there should always be an effort to engage with external parties to improve the quality and effect of the project. When poor legislation or a lack of access to justice appear to be key problems, facilitators should try to engage with advocacy or legal aid specialized organizations. Opportunities for working together are thus numerous.

Wider community support The peers of participants and the communities they live in might work against participants and block the progress of the group. In the eyes of other community members, devoting time to theatre or any other creative process might be perceived as a waste of time. This can lead to participants being bullied or neglected by people close to them. Quiet presentations with no audience, or high absence rates during rehearsals are indicators for this. If facilitators feel participants have no support from their direct peers, special attention should be devoted to getting the necessary communal support. Inviting the bosses of domestic workers, the managers of factory

Presentation TDE presentations are often an opportunity for partnering organizations to show 24

workers or family members of participants can be confrontational, but has the potential to clear a lot of ground. Showcases or small public happenings might also help in resolving these issues.

Red tape and safety Staging presentations requires permits. Not every local government authority, or police station is helpful in giving these permits.

Safety of participants could be at risk, especially when addressing sensitive issues like homosexuality, safe sex, or drugs. Be aware of these things and obtain enough information from local institutions. Basically one should keep eyes and ears open at all times.

Internal group dynamics Internal struggles within the group are an important part of the process, but also form a real threat. Sometimes facilitators will not be able to fully understand the problems in a group. The problems might even lie outside the TDE process itself. As participants do most of the work, their input and efforts are key to its success. If the group of participants do not work together harmoniously or efficiently it is not always possible to achieve good results. Ultimately the entire process could fail because of internal struggles within the group.

Facilitators Bad facilitators are always a threat.

Sometimes the people thought to be really involved and fit for their role, turn out to have joined the process for all the wrong reasons. Facilitators quitting or leaving midway through the process also pose a threat. Try to have alternatives in mind in case facilitators drop out or need to be replaced.

Never give up when spirits are low or things seem not to work out, and never be afraid to make changes. Facilitators may have to be replaced, participants may be lost along the way, but the end presentation or performance will make all these struggles worthwhile. Performing in public is a very important step participants have to take. It is the milestone that completes the process and allows for real evaluations to take place afterwards.

Attendance Sometimes participants have difficulty attending rehearsals. This can be because of other obligations, transportation problems or low self-esteem. Facilitators can do their best to overcome these challenges. However, any TDE process relies on the capabilities and spirit of its participants. Their spirit and energy drive the process. Low energy levels or de-motivation within the group are a threat to any TDE process.

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CONCLUSION TDE stands out in terms of its communicative capabilities and organizing power. It is no wonder that it is often used to work with unorganized marginalized groups whose voices are seldom heard. TDE is an excellent way to organize such groups and get them back in touch with society. Entry levels are almost non-existent and the fun participants have makes it possible to work over extended periods of time.

In the end real changes happen within the participants themselves and through them wirhin their (social) environment. It is through their enthusiasm and personal will that positive change comes about.

TDE is a grassroots bottom-up method that makes people aware that they themselves have the power to do something. This premise is at the heart of TDE: facilitating others to help themselves, or allowing others to ‘be the change you want to see.’

The costs and dependency on good facilitators are a downside. It is therefore wise to start small and have realistic expectations. TDE’s driving force is the participants themselves, the facilitators and supporting organizations can only show the way and motivate.

(below left) Workshop community theater for transformative communities towards sustainable development with Lutgardo L. Labad, Yogyakarta, TDE 2010 (below right) Workshop with Dutch landscape artist Sjoerd Wagenaar, Yogyakarta, TDE 2012 (right above/below) Scenes from the performance TANAH, ode kampung kami, Jakarta, TDE 2010

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04 How to use TDE?

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How to use TDE?

Introduction The main question this book is addressing is how TDE is used. We can be frank and say there are no definite answers. On top of this, there is a wide array of different approaches and methods out there. In no way does this book pretend to offer a complete or ‘best’ way of working. Let us keep in mind that every TDE process moves forward at its own pace with its own (group) dynamics and outputs. Before looking into how to use TDE, it is necessary to discuss when it is appropriate to use.

wounds, or finding out that the goals you want to achieve are opposed to those of the community.

If we look for social problems, we are bound to find them, anywhere in the world. Same goes for economic problems. We tend to find what we are looking for. There is a famous story of two shoe salesmen going to the same distant islands to do market research.

One of them came back and said there was no business on the islands, since nobody wears shoes there to begin with. The other came back very enthusiastic, saying the islands had enormous potential since no one was wearing shoes yet. In other words, it is very important to determine beforehand what you want to be looking for, or what specific topics you want to develop or address.

A look at when TDE is appropriate TDE processes always involve working with a group of people that share a common field of interest or topic. This means that the people in the group, the future participants, have something in common. Basically this can be anything: identity, race, gender, age, profession, problems, a locality, etc. The point is: there has to be some kind of ‘glue’ that holds the group together, something that gives the group character, purpose and identity.

Based on our experiences with the TDE program in Indonesia, participants who have followed a TDE process are able to demonstrate and develop individual and communal creative skills and talents such as: 1. Public speaking and expressing themselves in a group 2. Artistic skills (weaving/ painting/ decorating/ make-up/ costume design/ etc.)

3. Production management (publicity/ public relations/ creative writing/ stagemanagement) 4. Organizational management (heading meetings/ reporting/ evaluating/ monitoring) 5. Identify unique creative expressions in their community 6. Better address the social, cultural and

Exploring and discovering the life-stories of communities inorder to reach out to them are part of TDE processes. Before starting, initiators should ask themselves what the goals of their process are and how the laying bare of life-stories, local history and communal hopes, dreams and problems relate to these goals. So before starting, make sure you are aware of the stories you might uncover and decide if you are able to deal with them and put them to use in relation to your goal. There is no use in the unnecessary opening up of old 30

economic context of their livelihoods Acknowledge themselves as a (primary) source and important voice in the subject addressed 8. Compare their “way of life” with those of others 9. Demonstrate a critical mindset towards themselves and others 10. Adopt a more pro-active lifestyle with a raised self-confidence 11. Reflect on the complexity of issues and the point of view of different stakeholders 12. Raise awareness and popular support for issues they are facing

performances are used during seminars or meetings to better illustrate what is at stake, disseminate knowledge and/ or stimulate discussions. Besides this, theatre is a welcome break between long (often boring) key-note speeches.

7.

Existing networks within and factual knowledge about a community are important. Most NGOs will have people working on the ground who are trusted and known in the community. These people on the ground are usually in good contact with key community members.

Established theatre groups can start TDE processes in the area close to their regular rehearsal space or studio. Schools, factories or other institutions where people gather on a regular basis are good places to initiate a TDE process. The support of teachers or managers will then be crucial. In principle initiating a TDE process requires existing networks and levels of organization. It is unrealistic and unadvisable to start from scratch and without the back-up and support of local government, an NGO or established institution.

The above examples are merely based on our experiences. Other possible outcomes exist and in general participants should be given the space to discover their own talents. Once these talents are discovered it is the duty of the facilitators and other participants to nourish, stimulate and develop these talents.

Over time these talents can potentially flourish and make an impact, especially if there is support from others. This idea represents the earlier mentioned Goldmine theory. The Goldmine theory believes that every human being is a potential source of wealth, we only need to ‘dig’ and search for it and develop its contents, just as we would with any newly found goldmine and the raw gold that lies within it.

How to use TDE? We will describe some of the things you need to do and be aware of before starting a TDE process. The actual steps taken within the process are described in chapter five.

Who initiates a TDE process?

TDE processes are not started by just anyone entering a community. In our experience NGOs, local departments of government and special interest groups are often initiators.

They will ask artists or facilitators to use TDE to further enhance their existing programs and activities. Sometimes theatrical

Once you have decided you are interested in using TDE and have the support of your own organization, or a group of friends/ volunteers, it is time to think about (1) participants, (2) potential partner organizations, (3) resources and (4) getting in contact with key community members.

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Participants How will you be able to gather enough participants? Will they be easy to reach?

What can convince them to join? What are the characteristics of these participants? Do your goals and ideals match with those of the community you want to work with? These are just some of the questions regarding participants. A group of 15 to 25 participants that represent a larger community, or organization would be ideal. But depending on what the goals are, you can adapt the process to suit the specific context.

and able to gather and rehearse? Or was receiving transport money, snacks and drinks a precondition for their participation in the first place.

Paying facilitators and other organizations right from the beginning basically means you will have to pay them in the future as well.

Remember that communities are often full of (hidden) resources. However, the facilitators and supporting organizations will have to win over the community first, before these types of resources will be available. On the other hand if you are new to a community and do not have close ties with participants, access to communal resources, be it in kind or in other form, can be difficult.

Partner Organizations Depending on the issue you want to tackle it is necessary to contact experts and/ or existing NGOs with expertise on this topic. Often they are enthusiastic about participating, because the TDE activities will support what they are doing. Can you work together? Is there something you can offer them and what do you expect from them?

Do not hesitate to talk openly about your ideas and keep previously contacted NGOs and experts informed as you move along.

Partnerships are not born overnight. Some organizations involved in TDE only want partnerships lasting a minimum of three years.

Unfortunately many NGOs have spoiled things by handing out envelops with money for every single activity. In Indonesia we have often found this to be true. So you will have to be ready for the inevitable questions about money and people asking for compensations. Using money is not forbidden and surely almost everything costs money these days. Just keep in mind that the involvement of money raises expectations, potentially triggers wrongly motivated people to join and it could jeopardize the sustainability of your efforts.

Resources However you are going to do it, any TDE process will require resources. Although many resources can be in kind, you will be spending money at some point. The allocation and redistribution of resources, particularly money, with participants and partners is a very sensitive issue. Giving money to participants for transport and catering seems reasonable, but might have ramifications for the sustainability of your effort. What if there are no more funds in the future? Are participants still willing

Key community members Finding key people within the community, or organization to support your TDE endeavor will be one of the first challenges. You should have the support of at least two key community members before starting.

These key people could be religious leaders, village heads, managers, people with great personality, successful community-members, teachers or simply people born and raised within the community who are popular. Your contact people should have the respect and 32

Workshop theatre for development with Iman Soleh, Bandung, TDE 2010

Playing warming-up games with farmers, Sumber, TDE 2012

trust of your envisioned participants and be well-known figures within the community.

Their houses can function as a meeting place, especially in the beginning. Their stories and experiences are vital for better understanding the situation within the community. During your talks with these key community members important things to discuss are:

as much information as possible, it will be useful as you go along. Keep in regular contact with your key community members throughout the preparations and process.

Conclusion Once you have your supporting team or organization ready, are in contact with related NGOs and/ or experts and have a clear idea about your future participants you can start thinking about gathering resources and further information. Create a clear picture of your total endeavor and make honest calculations regarding the resources at your disposal and the extra resources you require. Engage with the community or organization you will be working with and make sure you have the support of at least two key persons within them. Once all this is done, you are ready to arrange a first meeting. During this meeting you can express your interests and intentions for using TDE. The NGOs and key community members should be able to assist you with inviting a homogenous group of participants. First meetings are very important, so make sure you are fully prepared.

History. Important historical events, historical figures within the community Economy. Main sources of income, resources within the community Important days. Local celebrations, regular activities/ ceremonies on certain dates Local issues. What gets people talking, any acute problems Potential rehearsal locations. Is there a venue that can be used for rehearsals Previous contact with development agencies.

Previous activities with other NGOs General feeling within the community.

In relation to the topic you want to address Arts and culture. Are there existing arts groups, artists, or musical groups Feel free to discuss any other topics as well.

Express a genuine interest in the community and show your enthusiasm. Write down 33

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05 The TDE process

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05

The TDE process

This chapter describes, step by step, the elements a TDE process should incorporate.

Most steps are linked to concrete exercises, which are found in chapter six. Of course you are free to add, select or give more attention to certain aspects within the process. There is simply no ‘one way’ or ‘best way’ of using TDE. Feel free to use additional exercises or make changes, you have to create your own path. Creativity and experiment are highly encouraged.

to come. If attendance is difficult give the people that come late a fun and slightly humiliating task to do in front of the group.

Let them sing a song, or speak on the merits of being on time. In order to avoid latecomers, you and the group could decide to pick each other up before rehearsals.

3. Logbook We advise you to keep a logbook of the process. Participants are responsible for this book. Attendance lists and experiences are written down in this book. Let participants give an appropriate title to the book. After every session a different participant is allowed to take the logbook home, read it, add to it, and bring it back again to the next session. Try to make the logbook as informative and creative as possible: add pictures, drawings, newspaper clippings, testimonies, etc.

Standard activities for every session Before describing the steps, we offer general information on activities that apply to every session.

1. Design the meeting and set your goals Prepare each meeting beforehand and have a clear idea of what you want to achieve.

Which exercises will be given and what are the goals of these exercises. Try to design SMART indicators which will indicate whether you have achieved your goals. SMART stands for indicators that are: Specific, Measurable, Achievable, Realistic and Timely. Make sure your indicators are just that.

4. Warming-up Make sure every session starts with a warming up. The exercises given for step 1 can always be used. The facilitator could also just give one of the participants in the group the task of doing a warming-up. In general people have experience in moving their bodies and warming up their muscles. Letting other people lead the warming up gives them a chance to show their leadership skills.

However important it is to prepare, always be open towards unplanned things and improvisations. Do not be afraid to throw away your planning if interesting things happen along the way. Always be aware of the process and the dynamics that happen within a group.

5. Refreshments during the breaks Facilitators feel when the group needs a break. Giving a short break of 10 minutes helps to bring back the attention and focus of a group. Breaks also allow time for small-talk and gossip, something much needed by most participants. There should always be plenty

2. Check Attendance Always check attendance and ask why people are not there. It not only strengthens the group bond, but also motivates people 36

of water and light snacks around. Avoid fat or fried food, try giving healthy food.

Which part was most important to you?

How does this exercise relate to your own life?

What conclusion can we draw from what we did?

6. Debriefing Each session ends with a debriefing (by the facilitator). TDE is learning by doing.

Through experiencing, or put simpler, by playing games, participants learn. Therefore participants are sometimes not aware they are learning new things. It is the task of the facilitator to monitor and guide this process by debriefing participants after each session.

In general a debriefing session follows the following pattern.

APPLYING (Now what...)

What effect will this exercise have on you as a person, if any?

Are there things you have learned which might change your attitude?

Do you plan to do this exercise again?

Should more people do this exercise?

How is this done?

EXPERIENCING -> REFLECTING -> INTERPRETING -> APPLYING

Once the facilitator has debriefed the group a couple of times, participants usually will start recognizing the pattern and begin discussing exercises themselves. It is not the facilitator’s job to be the centre of attention, so let the group talk and intervene only when necessary.

The facilitator leads the group through these phases by asking the right questions.

Facilitators should always prepare a couple of questions beforehand, so the debriefing process runs smoothly.

7. General Announcements Make sure general announcements are given after the debriefing. Never end a session without making sure all participants are aware of the date and time of the next session.

Some example questions for each phase are: EXPERIENCING (What happened?)

What did you just do? What just happened?

What sounds or words did you hear?

Was everyone in the group involved?

8. Report (Documentation) The facilitator writes a small report after each session. What happened? How did the group react to the exercises and discussions?

If there is documentation: photos, soundrecordings or film, save these files together with the report.

REFLECTING (What did you feel?)

What emotions did you feel?

What other emotions were there in group?

What triggered these emotions?

How did you feel when X happened?

INTERPRETING (What does it mean? Gaining insight) What do you think this exercise is about?

What is the most important thing you learned?

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TO FACILITATE to make a process easier Every TDE process needs a facilitator.

Within a TDE process a good facilitator makes it possible for participants to move forward and achieve results in the community’s development. It is therefore the task of the facilitator to harmoniously guide the group through the various phases of the process.

Facilitators try to make things (look) easy.

Participants should feel as if they are having fun, whereas in fact there is much more going on underneath the surface.

Facilitation is a skill that takes a lifetime to learn and you only get better through making mistakes and gaining experience. To give some direction and inspiration, here is an overview of qualities and skills good facilitators possess.

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Good facilitators Do not judge Are good listeners Know when it is time for coffee Give examples of things they explain Always appear to be having a lot of fun Deepen discussions by asking questions Appreciate every and any form of initiative Allow participants to ask questions at any time Identify cultural skills and art-forms present within the community Talk slowly and clearly and are not afraid to repeat Are confident, yet self-aware. Admit your mistakes and learn from them Feel the energy and attention of a group, and make adjustments when necessary Unleash the creative potential and talents of persons and groups within a community Promote ownership. Let participants be responsible for their own work

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First introductory meeting Inviting people for the first meeting is done through the key community members, or by using the network of an NGO. The decision whether invited people are allowed to bring friends, family, and children, is up to you.

Make a decision about this beforehand and be aware of the pros and cons of allowing people to bring friends and relatives. Have an attendance list ready for the first meeting, where people fill in: name, email address and (mobile) phone number. As described earlier, the house of a key community member, or a public venue inside the community are good places for first meetings.

Once you have done this, allow people to react. If everybody remains quiet, you can start with a round of introductions where everybody introduces him/ herself and tells why they are, or are not, interested in theatre. Before asking others to introduce themselves, use yourself as an example.

Basically, just go with the flow. Make sure you get a general idea of the enthusiasm and interest within the group. Allow plenty of time for questions, keep your answers concise and show plenty of interest.

When the meeting draws to an end it is time for you to make sure there will be a next meeting. Let the group decide the date, time and location of the next meeting. Remind the group that many theatre exercises require an open space. Ideally participants meet again on a location at least the size of a badminton court, with no direct sunlight and sheltered from rain. Schools, public buildings, or other larger venues inside the community will do.

If you are working inside an organization, try to get participants out of their everyday working surroundings.

During the first meeting most community members are not extrovert. In front of people they do not know, they tend to say what is deemed appropriate. Everyone will generally sit down and listen to the facilitator’s story. It is your job to convince them, create an open atmosphere and get them attracted. Avoid being formal, or becoming the centre of attention.

After opening words by important community members and prayers, it will be your turn to speak. Make sure you have been introduced briefly before you start speaking.

Always start by thanking the people who have helped you with the preparations and then thank everybody else in the room for their attention and the given opportunity to speak.

Delegating responsibilities to individual participants creates a sense of ownership, so it is important to start doing this directly from the start. Once a time and date are set for the next meeting try to let the group appoint a coordinator. If people are late, cannot come, or changes are made to the schedule: all communications can go through this coordinator. If, for some reason, no decision has been made on the location yet, the coordinator can let participants know where the next meeting will be held. For the basic refreshments during the next meeting the group should appoint someone as well. This person takes care of the catering, however simple this may be. You can also

Try not to speak too lengthily, but make sure you: 1.

2.

3.

4.

Introduce yourself and the organization you are working for Explain why you are here Explain what TDE is (if you have any imagery/ video use it) Share your idea of starting a TDE process 40

decide that everyone brings some food/ snacks and water themselves.

on where you want to focus on with your group.

Before closing the meeting, ask those who are planning to come to the next meeting to raise their hands. This gives everybody an idea of the groups’ composition. If the invited people have brought many friends and family you will have to make it clear who is allowed to follow the process. It is our experience that not everyone raising their hands will necessarily come. On the other hand, quite often people that were not present during the introductory meeting show up at the next, because they heard about it through friends. Be flexible about this, especially in the beginning, a process of natural selection is likely to occur.

Once the rehearsals and preparations for the end-presentation (or performance) start, the dynamics change and the presentation itself becomes the focus of attention. This is something to keep in mind, especially if your main goal is to empower and train participants. Focussing to early on an endpresentation could jeopardize your training efforts.

After the meeting it is best to meet shortly with the chosen coordinators. How many people do they expect to come? What kind of refreshments should be needed? Are there any costs involved? Discuss these things with them and make arrangements if money is needed for transport, telephone costs and/or refreshments. If there is an opportunity to survey the chosen location for the next meeting, be sure to do so. Again, be careful with using money right away.

STEP 1 Breaking the ice, participants get to know each other With every new activity, or process, the start is always a little uneasy. The people in the group might not know each other and everyone is waiting for what is going to happen. Exactly the right time to stand up, start moving and get everyone involved. ACT OUT YOUR NAME is a great way to start and can be repeated as a warming up at the start of every following meeting.

The actual process The TDE process really gets started during this first rehearsal session. Being able to work with the participants on the floor is a great way to learn more about them, whilst building a closer relationship with them.

Below are the steps involved in a TDE process. It is not necessary for each step to require one session. Depending on the length of each session you can put one or more steps into one session, but you can also put one step into various sessions. It all depends

After this first step participants should be excited and full of enthusiasm, the initial shyness between participants and facilitators is gone and everybody knows each other’s name. Make sure there is plenty of time 41

for laughs and silly jokes. Facilitators stay around after the session to chit-chat with participants, maybe even go out together to have a drink.

STEP 3 Freeing the mechanized body Every human body is stuck in routines.

The way we comb our hair, walk down the street, take a shower or shake someone’s hand are all very mechanized. We often don’t even think about our physical motions during these routine activities. Within our professional life we make certain movements over and over as well, for instance: typing on a keyboard, opening and closing a cash register, or using a hammer to hit a nail.

STEP 2 Making a more physical acquaintance Once participants know each other’s names and have seen a little bit of each other’s personalities it is time to make everyone feel more comfortable with each other. The exercises used here require participants to engage in physical contact. They gain trust and self-confidence by accepting others to touch them and being allowed to touch others. The facilitator makes sure everyone is treated respectfully and everybody is mingling.

We could say our bodies are trapped in (physical) routine; we use our bodies in a particular way, without us being aware of it or trying to change it. If we want to creatively express ourselves using our bodies, we must free our bodies from these mechanized ways of moving first, in order to explore new ways of moving and using our bodies. During these explorations we might use muscles we have never used before. Once the body is freed of its daily routines and aware of its mechanized movements it is better able to express itself.

Physical contact contributes to group bonding and forms an important extra step after participants have broken the ice. By being at ease with physical contact participants overcome a psychological barrier and will start considering themselves as members of a group with which they share unique things.

During this step participants should discover the potential of their own bodies in a way they have never done before. Try to create an atmosphere in the group where participants 42

feel absolutely free to experiment while discovering their own physical possibilities and limitations. Nothing is too crazy or absurd.

People interpret symbols and gestures in very different ways. The facilitator should leave enough space for the group to discuss these different interpretations. The way people express certain emotions also varies between cultures and people from different educational backgrounds. During this step it is also possible to experiment with make-up and costumes, depending on the circumstances.

STEP 4 Allowing the body to become expressive During this step the facilitator will show participants that human bodies are able to express all sorts of things and emotions.

Important skills to learn during this step are: (1) Being able to look at others attentively and (2) feeling comfortable when being looked at by others.

STEP 5 Social cultural analysis The social cultural analysis uses various perspectives to make participants aware of their own position. During this step participants will explore and discuss how they view themselves and how they think others perceive them. The discussions will have to include ideas and perspectives on how a better social and cultural position for participants can be achieved.

The facilitator guides this process and explains participants that letting others look at you requires special positioning. Looking at other people is something we do every day, but being aware of other people looking at us evokes (nervous) emotions. During this step it is important that participants discover these emotions and learn how to deal with them. Professional actors, for instance, are always aware of where their audience is, feel comfortable being looked at and adjust their bodily position according to the viewpoints of the people looking at them.

The two corresponding exercises in chapter six can only trigger the discussion, it is the facilitator who further stimulates the group and keeps the discussion lively. Below some questions which can be used. The facilitator will avoid giving definitions of any of the terms used.

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Social position What is it? Ask participants to describe their social position What determines one’s social position?

What impact does one’s social position have on one’s life?

Identity What is it? Ask participant to define their own identity Why is having an identity important?

What role does one’s identity play in everyday life?

A brainstorm session or a more playful approach can be used to discover the problems participants are facing. The facilitator will try to summarize the problems into shorter statements, or simple words.

When doing so, facilitators always check if the group consents to the proposed changes.

Culture What is it? Ask participants to define their own culture How does culture influence our life?

Can we change culture? Is it necessary to change culture?

Discussing whether or not problems are related, and giving participants plenty of time to explore the causes and effects of their problems is of main concern during this step. Dominant voices often determine this debate, thereby silencing others. Giving everybody a chance to talk about his or her concerns and voice their opinions is not always easy. Some people are reluctant to speak, while others might feel their opinion is not important. By creating smaller groups facilitators can increase the chances of quieter participants speaking. Make sure the dominant voices are all in one group; usually this will allow the quieter participants to speak up. Separate the groups far from each other, if necessary. These tactics can be used in most of the exercises belonging to this step. Never get into an argument with a dominant voice, or tell someone to be quiet.

Give turns, or distribute roles in such a way that the dominant voices are forced to listen.

In the end it becomes a challenge for the group to link the concepts of Social Position, Identity and Culture. Remember we are not trying to become academics here; do not expect any conclusions and allow off topic comments and discussions to take place.

What is being said should trigger participants to start thinking more critically about their own social position. Interesting remarks or debates should be noted in the logbook as they can be used in creating the script later on.

STEP 6 Define the problems Before starting a TDE process, initiators will usually have a certain idea of the problems and issues that should be addressed. Nonetheless it is important the group discusses and defines the problems.

Participants are more willing to tackle problems they have identified themselves, than problems other people see in their lives.

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2 other organizations should come and visit our rehearsals At least two government officials have to come to our presentation

STEP 7 What can we do? (= Talent and Needs Assessment) With all the problems written down it is time for action, but where to start? What can we do? The facilitator needs to ask these questions to the group. Does change come from inside us? Should we change the way we behave? Do we need to go out and hold a demonstration? Write a petition to be presented in parliament? Is advocacy the answer? Or...?

Having achievable goals helps motivating the group and gives participants something to aim for. If afterwards the goals are achieved the group can celebrate it as a victory, if not, there will be food for evaluation.

Within every group of people there are various talents. A TDE process has the potential to disclose and further develop them. A good facilitator is able to discover which qualities there are in the group and encourages participants to work with the talents they posses.

Ideally during this step the group is motivated to move on with the TDE process.

Participants feel they are continuously learning new things. Everyone is having fun, and the rehearsals are strengthening the group. Participants are excited by what lies ahead and want to be part of the presentation at the end. Together with the group the facilitator should try to write down at least three goals the group wants to achieve with the presentation. They do not have to be extremely complicated. Examples of goals are:

The discussions during this step should make the group more self-aware and realistic, about what it can potentially achieve.

A SWOT analysis evokes these discussions, while at the same time examining the different roles external and internal factors play within the group process.

During the SWOT analysis it might become clear that certain things the group would like to achieve are not possible. This is not a problem, but instead, a challenge.

Together with the group the facilitator can try and think of involving other people or organizations in order to achieve the set

We want to write and sing a song about ourselves We want at least 100 people to watch our presentation We want our presentation to be mentioned in the (local) newspaper 45

goals. The group might discover that there are others experiencing similar problems elsewhere and could try to reach out to them. This is a great way of building a network.

decide what they want to do. The final steps are all about creating, composing, rehearsing and production.

[Note: no more corresponding exercises are given from now on]

TDE processes do not have to finish with a theatrical presentation or performance.

A musical, a fashion show, a walking parade, photo-exhibitions, a concert, or even a mix of the previous elements can all be part of the presentation. Whatever the group decides to present, the results should represent the process the group has gone through.

Most important is that participants have a strong sense of ownership over their ‘own’ presentation and are able to creatively express their feelings and emotions. Below we give two options that can help in the creation of the presentation.

At the end of this step the facilitator explains that some participants will have to get involved with the production of the presentation. Being part of the production team will require logistic and managerial skills. Participants who feel uncomfortable with their bodies, get nervous easily, but are enjoying the process, are most likely to join the production team.

1. Using improvisations and the problem tree Using the personal stories of participants is a great way to present the results of a TDE process. The problem trees (exercise 6.3) can be used to write small scripts based upon improvisations. Take a problem from the problem tree and ask participants to create a scene, based upon personal experience, where this problem manifests itself. They can just improvise at first and later write the corresponding text. The facilitator should always stimulate people to act and just ‘do something’ instead of sitting down, thinking and discussing. Being active and just improvising simply works better.

STEP 8 Creating the presentation.

The group has decided it wants to continue working towards a presentation. The goals the group wants to achieve have been written down. What remains is deciding about the presentation. What will it look like? Which elements of theatre will be used?

Will we present everything as one story, or are we going to present separate scenes on different topics? Are there existing cultural expressions within the community that could be used? The possibilities are endless and it is really up to the group and the facilitator to

The end of the improvised scene should lead us to the next problem in line of the problem tree. For example, in the problem tree we find the following order of problems: Lack of education -> Difficult to find work -> Joblessness -> Poverty -> Hopelessness -> Crime. We could image the following scenes 46

Lack of Education A young man complains to his father, that he is not allowing him to continue his schooling.

The father tries to give good reasons. He is not able to pay for the education anymore and what is the use of education anyway?

They argue and fight. In the end the father tells his son to stop worrying about education and go find a job.

with reality the problem tree is adjusted accordingly.

2. Improvise around a theme Letting participants improvise with a given theme is another way in which the group can work towards creating a presentation.

A theme is selected representing the group and the issue they want to address. For instance: discrimination, access to justice, drug abuse or violence against women.

Once a theme is chosen each group is given time to prepare a short presentation related to the chosen theme. They can write a poem, create a song, improvise a scene, or use some of the methods used in earlier exercises. The facilitator helps individual groups develop their ideas.

Difficult to find work The young man goes to a factory to find work, but is rejected because he has no diploma. He goes to a shop to ask if he can work there, but again he is rejected because he does not know anything about bookkeeping. In the end the young man goes back home and complains to his father he is not able to find a job. His father tells him to be patient.

Once finished the groups present their work to the other groups. The best ideas are further developed. Through a process of individual taste and group selection, members of other groups can join groups with better ideas. The cycle of working together within individual groups before presenting back to the entire group can be repeated over and over. The facilitator and participants of other groups give comments after each presentation. The group, which has just presented their work, uses the comments to further develop their ideas.

Each time the work is presented back, it should get better and better.

Joblessness The young man tries to be patient. He receives more letters of rejection from other companies he tried applying to. He gets more and more frustrated. His father tells him that he should start taking care of himself now.

The young man gets even more frustrated and starts to become hopeless.

The above is a simplified example of how the script of a series of improvised scenes based on the problem tree can look like.

If participants have difficulty writing down the scenes themselves the facilitator can help. Facilitators should intervene as little as possible in the creation process of the scene.

Both described methods require plenty of time. During the process new elements are added to the scenes, for instance: music, make-up, costumes or objects (props).

During this phase it might be useful to have other people come and watch. Outsiders are generally able to give useful critique.

If through a natural flow of events the order of the problems changes during improvisations the facilitator discusses this with the group. If the group decides the order within the scenes is more in line

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The facilitator is careful not to direct the play too much and make participants aware that they will be giving a presentation not a performance. The stress levels of participants should remain reasonable. If necessary, real actors are added to the existing groups, their role is to support and make the scenes livelier.

1. Location Choosing an appropriate location is one of the most determining factors for the effects your presentation will have. Choose wisely and take your time to research alternatives.

The location of the presentation will influence not only the atmosphere, but also the number and type of people who will come and see the presentation.

Guerrilla style performances held unexpectedly and without notice in public areas can attract large crowds, but the attention span of the audience is usually low.

Performing inside the group’s community will attract a smaller crowd, but the intimate setting can make the presentation (and the discussion afterwards) much more communicative. Other things to keep in mind are

Safety both for players and audience members. Is extra security needed?

Permits is it allowed? Which institutions should be informed (Police/ Government) Audience facilities where is the audience going to sit?

Snacks/drinks? Toilets?

Noise can we expect any outside noise? (traffic, other events) Weather what if it rains? Is there a plan B? Stage where will the players perform, what size/ height should the stage be

STEP 9 Preparing for the presentation Once the rehearsals are underway and the content of the presentation is starting to take form it is important to start preparing for the final presentation. The group is responsible for the production side of the presentation, regardless how big or small it may become.

For this purpose a production team is formed. Most of the responsibilities they have to take care of are listed below. The facilitator should try and let the production team do as much as possible, unless of course there is no one available or capable within the team. Ideally the facilitator only monitors the process, delegates tasks and answers the questions from the production team.

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Backstage is there a backstage area needed? Is there a toilet? A dressing room?

Electricity is it needed? is there a stable source of electricity?

Lights are we performing using natural light? Where can lights be hung?

Sound do we need a sound-system?

Microphones?

Guest speakers do they need a microphone? Where will they sit / stand?

the set-up of audience facilities and the reception of the public before the presentation.

3. Promotion People will have to know there is a presentation. You can make posters and hang them at strategic places, use Facebook/ Twitter announcements, or ask the Imam of the mosque to announce the presentation over the speakers. The facilitator motivates all participants to tell as many friends as possible about the event. Making entrance tickets that can be handed out has yielded good results in terms of people showing up at the presentation.

Placing the faces of participants on the poster is a great moral and confidence booster and stimulates participants to invite people to the show. Make sure all participants are included on the poster, use photoshop if necessary.

Do a survey of the location while checking the above points. Invite the group to see the location. If that is not possible; give a detailed briefing to the group about the location. Remember that the more resources used from outside the community, the more difficult it will be to repeat the process or hold another presentation. Facilitators will have to think about sustainability before starting to hire or buy things for the presentation that are out of the participants’ reach.

2. Logistics All the actors, musicians, technicians and production people have to be at the location at the right time. How do they get there?

Is there a safe place to gather? Where can participants leave their belongings?

4. Press conference Holding a press conference a few days before the actual presentation is useful if the attention of the broader public and/ or advocacy is one of the group’s goals. In order to hold a press conference the group must write a press release. In the press release the group explains who they are, what they are doing and what the goals of the process and presentation are. Send this press release together with the time and location of the press conference to relevant journalists, newspapers, magazines, TV- and radiostations.

Audience facilities have to be arranged.

Chairs, tents, or carpets need to be in place.

The group has to decide on where the audience will sit and someone has to be responsible for arranging and coordinating

Plan ahead about who is going to speak during the press conference. Make a list of possible questions journalists will ask and rehearse answering them. If you have good photos share them with the journalists, 49

you can burn them on a CD, or send them using email. Together with the press release it makes the life of journalists easier and increases your chances of being published.

Giving the journalists a good meal, or a simple souvenir shows that you respect their time and efforts.

process and the presentation can be posted on youtube, and a blog on Internet can be used to post photos. Good documentation allows groups to reach wider audiences and appeal to other organizations.

Make sure all group members agree with the fact that they are being documented, some people might not agree to their pictures being taken and then posted on the Internet.

Together with the group the facilitator discusses what the documentation could mean for the group. Use it according to the group’s ideas and wishes.

5. Publication A presentation is a good opportunity to inform an audience. In addition to the communication that takes places through the presentation, printing a booklet or a leaflet, which is handed out before the presentation, is a good way to share more information.

In the booklet you can explain about the background of the presentation, which people and organizations were involved and share the goals participants hope to achieve through this presentation.

Appoint someone especially for documentation. If video footage will be taken, recording interviews with participants and other people involved adds an important element. Make clear arrangements with the people doing the documentation. When can the final product be expected? Are there any special things that need to be documented?

Which questions should be asked to participants in the case of interviews?

Prepare a list of questions to be used.

A booklet can be made with a designer, including nice photos and printed in color, but it can also be just a photocopied sheet of paper that you hand out.

6. Documentation Good documentation is very important.

Photos, videos and reports of the presentation can help promote your activities to other organizations or institutions. You have something to show to interested parties and documentation proves your activities have taken place. If the group continues to work on more presentations in the future, the earlier documented presentations can be useful as a track record and as material that can be studied. Don’t forget to also write in the logbook about the presentation.

7. Refreshments In Indonesia it is a custom to offer audience members something to drink or eat. Simple snacks and some water is enough. Who will be responsible for arranging this? How is it going to be served? Do you give it before, after or during the presentation? But traditions for audience facilities vary widely from country to country.

Try to have garbage disposal bins placed around the stage and amidst the audience.

Avoid having garbage everywhere during and after the presentation.

At more formal events, like seminars or public debates, the documentation can be used as illustrational material. Videos of the

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8. Stage-Management Appoint someone who will be in charge of everything that happens on the stage. Stagemanagers coordinate the people working on and around the stage area. He/ she makes sure all things needed on stage are in position and the stage is safe for the players to exit and enter. In traditional theatre the stage-manager assists the director, since TDE does not use a director, the stage-manager is accountable to the whole group. All questions and comments participants have concerning the stage area should be directed to this person.

theatre experts and staff members of NGOs or organizations you are working with form an ideal audience. But keep it intimate and make informal acquaintances with the audience beforehand, this keeps actors’ stress levels low.

During this dress rehearsal participants should pretend they are performing the real show. The facilitator stimulates them to complete the presentation non-stop from start to finish. The end of the presentation should also be rehearsed. Does the group form a line to take a bow, or does everyone come forward one by one? The facilitator assists the group in making this decision. If there is a discussion at the end, where will the actors sit? Does the lighting need to be altered so the audience becomes visible?

The stage-manager also makes a timeline that is used during the day of the presentation. Many people may need the stage to test equipment, sound, or light.

Actors want to rehearse while others might want to install things, or hang banners or posters. If all this takes place in a chaotic manner, no one gets the preparation they had hoped for. Therefore keeping time slots and giving everyone the opportunity to do ‘their thing’ is very important.

11. Moderator for discussion Many TDE presentations end with a discussion directly after the show. During the discussion all participants sit together in front of the audience. Someone is appointed as the moderator, who receives the questions from the audience and summarizes difficult questions and answers. Also moderators control the length of the discussion and urge people to stop talking if their stories get too lengthy, or go off topic.

9. MC The MC, or master of ceremonies is someone who hosts the presentation.

Before the group starts the MC says a few welcoming words, gives additional information to the audience or makes other announcements. Discuss with the group who will be the MC and what needs to be said during or directly after the presentation.

If other people give opening speeches or welcoming words, the MC introduces these people and welcomes them on stage.

The group will have to decide whether they want to have a discussion session at the end.

What are the expected outcomes of such a discussion session? Which questions can be expected?

12. Next meeting after the presentation As presentations can be quite hectic and many participants might want to meet with audience members the facilitator makes sure the time and date of the evaluation meeting is scheduled beforehand.

10. Final rehearsal/ dress rehearsal If it is possible the group will do a final rehearsal. For this final rehearsal a small audience is invited. Friends of participants, 51

Directly after the presentation is a good time to mingle with the crowd. The facilitator tries to ask for opinions and feedback from audience members and checks if people understood the message(s) of the presentation. The facilitator stays to ensure that all participants leave for home safely and the production team leaves the location tidy. Encourage the group to clean up after the presentation.

STEP 10 The presentation Once all preparations are finished it is time for the presentation. The warming up before the presentation should be extra energetic and really motivate the participants. Once underway the presentation should be all about the participants themselves. It is the highlight of their process. The facilitator checks if all the people responsible for the production are working according to plan and gives extra instructions if necessary. Once everything is ready, there is no turning back.

The group goes out and gives it its very best.

STEP 11 Evaluation and Future Action Plan Participants look back at the process and the presentation during this meeting. The facilitator encourages each participant to tell others what they have learned and what has been the most important part of the process for them. Has the group encountered many problems during the process and what has been done to overcome these problems? Are there problems that have not been solved? If we were to repeat the process, what changes should be made?

Whatever happens, the atmosphere should remain positive during and directly after the presentation. The facilitator gathers the group after the show, congratulates all participants on their achievements and thanks everyone for their efforts.

No elaborate evaluation is done directly after the show. Let participants celebrate and enjoy the moment.

To give participants an opportunity to express their feelings privately the facilitator can hand out pieces of paper with a smiley face on one side and an unhappy face on the other. Participants are free to write about whatever made them happy or unhappy during the process.

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The evaluation includes a discussion on whether or not the group would be able to continue as a theatre group. Would they be able to make a new presentation?

What skills, knowledge or resources are lacking? The facilitator lists these points in the logbook so a clear overview of future needs and current skills is drawn up. A new SWOT analysis of the group, after its first presentation, helps in a sharper formulation of these points.

Screaming for justice in the performance Bunga di Comberan, Jakarta, TDE 2011

After the evaluation participants make plans for the future. The facilitator tries to encourage participants to be as precise as possible. Ask participants to write down their future plans and present them to other participants. A way to structure this is by asking participants to write down what they hope to have achieved within the next month, after three months and after one year.

will be interested in the findings and for the facilitator they are useful for future reference.

The facilitator writes down his comments and recommendations for the group in the logbook and hands it back to the group.

Facilitators keep in contact with participants of the group. Check if their future plans are becoming reality. It is also possible that the group decides to immediately start a new process. If possible visit participants every now and then, to check and see how they are doing.

Often people will have similar ideas about the future, meaning partnerships can be formed. The facilitator links likeminded participants together. Possibly a new group can be formed. End the evaluation with celebrating the joint achievements of the group. Have a meal together, go to the beach or have a fun trip together. Anything is fine, as long as the group has a memorable time.

Ideally at the end of a TDE process a new theatre group is created and participants will continue to use theatre to share feelings and information with their surroundings.

Exposing the group to other theatre groups, activists, NGOs or other interested parties may help in sustaining your efforts. How this is realized varies greatly depending on the issues tackled and the kind of response there has been from audiences and communities.

What follows?

After the evaluation has been done the facilitator writes a report about the entire process. The small reports written after each meeting and the logbook serve as a guideline. Keep it short, write down only the most important points and things you and the participants have learned during the process. Add pictures and any other information that might be useful for the group. Any supporting organization 53

54

06 TDE Exercises

55

06

TDE Exercises

In this chapter practical exercises corresponding to steps one through seven described in chapter 5. At the end of the book you will find some empty pages where you can add your own exercises.

Goal Icebreaking, warming up up Icebreaking, warming Participants learnlearn eacheach other’s names Participants other’s names Participants startstart expressing themselves Participants expressing themselves usingusing theirtheir voices and bodies voices and bodies

Many of the exercises in this book can be found in the books, articles and websites mentioned in the bibliography. Otherwise they have been taken from workshops and/ or rehearsals the author has participated in.

The origins of particular theatre exercises are often unclear, let alone their variations and additions. We have therefore not credited any exercise in this book to anybody. We also do not claim any of the exercises described below to be our own. They are free to be used and belong to all of us, as far as we are concerned.

Requirements Everybody stands in a circle Instructions In this exercise participants have to act out their names. The facilitator starts by giving an example. If the facilitator’s name is Samoedra, he can pretend to be a big wave rolling into the shore. Waving his hands from high to low he moves into the circle shouting “SAAAAMOEEEEEDRA.” Once this is done, all other participants repeat the same movements and sound. After that, the next person on the left does the same. He/ she will move into the circle and act out his/ her name and everyone else repeats. Continue until everyone has had a turn.

Tips/ attention GiveGive the first turn turn to someone confident the first to someone confident Encourage creativity, for instance by acting Encourage creativity, for instance by out your own in different ways acting outname your own name in different This ways exercise can be used as a standard warming-up gamecan forbe each rehearsal, This exercise used as a standard participants should express theirrehearsal, names warming-up game for each according to the mood they are in, or names related participants should express their to things experienced the past 24 hours according to the mood they are in, or

STEP 1 Breaking the ice, participants get to know each other

related to things experienced the past 24 hours

1.1 Act Out Your Name Duration: 15 minutes

1.2 A,I,U,O,E Duration: 10-30 minutes

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this “I” can choose to pass this new letter on by turning 180 degrees to the next person in line, thereby switching the flow of the game, or he/ she can choose to reply with yet another letter.

Requirements Everybody stand in a circle, facing one another

If the participants have mastered the game it should flow fluently and quickly. If a person makes a mistake, by not replying quickly enough, passing on the wrong letter, or replying directly without changing the letter, he/ she is expelled from the game. Keep repeating until one person wins.

Instructions In this knockout game participants have to act and shout out certain letters. The facilitator shows each letter first. The “I” is formed with both hands stretched straight up in the air pointing to the sky and the feet tightly together, as if forming the letter “I”.

The “A” is formed with legs far apart and the hand in a triangular shape above the head.

The same is done for the other letters: the body takes the shape of the letter.

Tips/ attention Make suresure participants makemake eye contact Make participants eye contact before they shout and act out letter before they shout and act aout a letter Instead of expelling participants, you can Instead of expelling participants, you give can penalties for making a mistake, for instance give penalties for making a mistake, for by letting them push-ups middleinof instance by do letting them in dothe push-ups the circle the middle of the circle The The 180 180 degree turnturn is ideally a jump degree is ideally a jump

The facilitator explains that the letter will be passed on through the group. Participants face the person next to them, make eye contact and then shout and act out the letter. The next person in line turns toward the active participant to receive the letter and passes it on immediately by turning 180 degrees to face the next person in line. After making eye-contact he/ she shouts and acts out the same letter. Continue on like this.

Let each letter pass through the entire circle.

Practice until each letter moves fluently around the circle.

1.3 Who Is The Leader?

Duration: 20-25 minutes Goal Physical warming-up, stimulating Physical warming-up, stimulating creativity creativitylearn to work together as a Participants Participants learn to work together as group a group Requirements Everybody stands in a circle facing one another

Once the game has started participants have the choice to pass on the letter, by turning 180 degrees to the next person in line. They can, on the other hand, also choose to not pass on the letter, but reply with a different letter to the person who just shouted out a letter to them. So they receive an “A” and then reply with an “I”. The person receiving

Instructions The facilitator starts by making a simple continuous movement, for instance waving one’s hand from left to right. The entire group tries to copy and continuously repeat this movement as similarly as possible. After a few moments it should look like the whole group is moving as if they are one person.

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EXERCISES Step 1

Goal of the exercise Warming up, icebreaking Warming up, icebreaking Participants learnlearn to seek and make eye- eyeParticipants to seek and make contact contact Participants traintrain theirtheir vocalvocal skillsskills Participants

The facilitator then changes the continuous movement and everybody follows quickly.

After a couple of examples the facilitator points out a new leader who then initiates the changing continuous movements. Once the group is able to follow the new leader as he/ she changes up the continuous movements it is time to start the game.

two separate groups that will compete against each other. Following the facilitators instructions the groups have to form a new line, WITHOUT TALKING. The quickest group to form a new line wins.

Let us take the example of age. Here the group has to work together until the youngest person stands on one end of the line, and the oldest on the other end of the line. In between all other participants are lined up according to their respective ages.

The facilitator acts as a referee who checks the results and makes sure nobody is talking.

It is best to start with easy, more visible aspects and then slowly work your way up to more difficult non-visible aspects. Below a list of visible and non-visible categories which can be used.

The facilitator explains that the group’s goal is to try and conceal who is the actual leader initiating the change in the movements. One person is then asked to leave the circle. After this the facilitator points out who will be the leader. Once everybody is ready, the selected leader starts with a continuous movement and everybody follows. The person who left the circle is asked to step back into the circle to try and guess who the leader is. The aim of the group is to conceal his/ her identity.

Examples of visible categories -Body length Body length -Darkness of clothing -> from light to dark Darkness of clothing -> from light to dark colors colors -Amount of jewelry worn -> from least to Amount of jewelry worn -> from least to most most

You can repeat this game once or twice.

Tips/ attention Tell the not to directly Tellparticipants the participants notlook to look directly towards the leader towards the leader Variation: add music Variation: add music Variation: add joker whowho is allowed to move Variation: aadd a joker is allowed to freely move freely

Examples of non-visible categories -Names of participants in alphabetical order Names of participants in alphabetical -Number of brothers and sisters one has order -Distance from rehearsal area toone their Number ofthis brothers and sisters has home Distance from this rehearsal area to

1.4 Everyone In Line Duration: 15-20 minutes

one's home

Goal of the exercise Icebreaking, warming up Participants learn more about each other Participants learn to work as a team

The facilitator can add many new categories, just be creative.

Requirements Start with everyone standing in two separate lines. Each line facing the facilitator

Tips/ attention: You can see in this exercise how participants work together and if the group has any natural leaders

Instructions In this exercise participants are split into

1.5 What Is Status?

Duration: 25 minutes 58

they place their feet? Are they holding their head high or low? Make participants aware that each part of their body is able to express status

Requirements None Instructions Before the game starts the facilitator explains the different statuses and discusses them with the group. Once the participants understand each status they are requested to walk around freely in the space. The moment they hear a number being called out they act out the status corresponding to that number:

STEP 2 Making a more physical acquaintance 2.1 Anywhere the wind blows Duration: 15 minutes

1. Low: little or no self-confidence, low energy, shy, eyes towards the ground 2. Neutral: Neither happy nor sad, no expression what so ever 3. High: Extremely confident, high energy, enjoys being seen, eyes looking to make contact

Goal of the exercise Participants work together as a group Participants get used to each other bodies Requirements Participants stand in lines of 4 to 6, all facing forward

The facilitator can develop the game further by letting participants start a small conversation according to their status. Try to give certain members of the group a different status by tapping them on the back. Also the facilitator can add wild characters like animals or street vendors. Finally characters related to the group can be introduced.

Instructions Participants will be playing with an imaginative wind. Imagine standing on the beach with the wind blowing from the left, automatically we will be blown to the right.

When we have the wind in our backs, we will move forward, etc. Once all participants understand, the facilitator asks everyone to lock their hands together in front of the belly of the person standing before them. Each line should be like an interlocked chain.

After the exercise have a discussion with the group. How did they interpret the different statuses and what do they feel is their own status? Take plenty of time for discussion.

Tips/ attention While the participants are walking around the facilitator checks their physique. How are they holding their shoulders? How do

When the facilitator shouts “WIND FROM THE BACK� everyone in line should jump forward, without breaking the chain, while 59

EXERCISES Step 1-2

Goal of the exercise Introducing participants to the concept of high and low status Participants learn to express themselves Stereotypes and prejudices related to status are revealed

shouting “FORWARDS!” If the facilitator shouts “WIND FROM THE LEFT” participants jump to the right while screaming “TO THE RIGHT!” The facilitator may try to distract participants by jumping or pointing in the wrong direction, adding more confusion and fun.

balance their physical strength. Participants start in pairs, facing each other and placing both their hands on their partner’s shoulders. The facilitator tells everyone to start pushing against their partner’s shoulders as hard as they can, but without falling or moving.

In the next step participants sit back-to-back on the floor. Slowly they will try to stand up, not by using their hands, but by pushing their backs against each other. Once standing, still with their backs touching each other, they can try to walk a little bit and sit back down, once again not using their hands and without their backs ever breaking contact.

In the next step participants sit facing each other. The soles of their feet flat on the floor close to their partner’s feet. Now, while holding each other’s arms (or hands), they try to stand up. Once standing they should try and sit down as slowly as possible, without letting go of each other’s arms.

Playing anywhere the wind blows during a workshop, Bandung, TDE 2010

Tips/ attention: Instead of placing the lines next to each other, have lines face each other; this will surely increase the fun, as wind directions become increasingly difficult to predict

The facilitator makes the groups trying to stand up bigger and bigger. Start with circles of four, then eight, up until in the end the entire group stands in one big circle and is able to stand up and sit down simultaneously. Again the soles of the participants feet should be flat on the floor placed directly against the feet of the person next to them.

2.2 Pushing against each other Duration: 20-30 minutes Goal of the exercise Participants learn to work together in smaller Participants learn to work together in teams and as a group smaller teams and as a group Participants get used to each other bodies Participants get used to each other Participants learn about their bodily strength bodies Participants learn about their bodily strength

Tips/ attention In the group can, can, whilewhile Inend the the endentire the entire group holding hands, try to hang back as holding hands, try to hang backfarasasfarthey as can they can MakeMake pairspairs of similar size and in the of similar size strength and strength in beginning the beginning

Requirements None Instructions In this exercise participants explore different ways of using each other’s muscle power to

2.3 A circle of knots Duration: 20 minutes 60

equal sized groups are made. The facilitator instructs the group to double fold the cloth they are standing on without any feet touching the floor. If they succeed the group must continue folding until somebody falls or a foot touches the floor. The group who manages to fold the cloth the most times wins.

bodies

Requirements Participants stand in a circle holding hands Instructions During this exercise participants will tie themselves in an enormous knot. During the entire exercise participants are not allowed to let go of the hands of the persons next to them. The facilitator asks one of the participants to move over or under a pair of hands opposite to him/ her. All other participants must follow the movements, until a (more or less) comfortable situation is reached. After all the participants have made a similar move and everybody is standing tangled up it is time to untie the knot, silently and without violence.

Tips/ attention People uncomfortable with this level of physical contact can become referee 2.5 Blind dash Duration: 20 minutes Goal of the exercise Participants workwork together as a as group Participants together a group Participants get used to each other’s bodies Participants get used to each other’s Participants learn to trust and care for each bodies other Participants learn to trust and care for each other

Tips/ attention The facilitator makes sure no violence is used and nobody lets go of their neighbors hands during the exercise

Requirements Participants stand in line shoulder to shoulder Optional: Blindfold

2.4 Double fold Duration: 20 minutes

Instructions Participants will compete in the Paralympics.

They will sprint 20 meters as a blind person.

The facilitator takes one volunteer and places him/ her exactly 20 meters before the line of other participants. The volunteer is blindfolded or asked to close his eyes. Once this is done he/ she starts running as fast as possible, without ever stopping, towards the closed line of participants. It is the duty of the rest of the group to catch the sprinter safely. Keep repeating until everyone in the group has taken the sprint at least twice.

Goal of the exercise Participants work together as a group Participants work together as a group Participants get used to each other bodies Participants get used to each other bodies Requirements Participants stand on a big piece of plastic or cloth (roughly 3x3 meter) Instructions All the participants should easily be able to stand on the cloth. If there are too many participants to fit on the cloth, two or more 61

EXERCISES Step 2

Goal of the exercise Participants workwork together as a as group Participants together a group Participants get used to each other bodies Participants get used to each other

Tips/ attention MakeMake suresure the receiving line is closed and the receiving line is closed everyone is paying attention before the and everyone is paying attention before sprinter starts starts the sprinter Everyone should be treated equally Everyone should be treated equally respectfully respectfully

Once the race has begun participants may not stop moving and never have two feet on the ground at the same time. Participants breaking the rules are disqualified by the facilitator.

Tips/ attention Try to link this exercise to routines participants have in their daily lives during the debriefing 3.2 Three legged race Duration: 15 minutes

STEP 3 Free the mechanized body

Goal of the exercise Participants are taken out of their comfort Participants are taken out of their zonecomfort zone Participants learnlearn to trust eacheach otherother and Participants to trust workand together work together Participants explore new new waysways of using their Participants explore of using bodies their bodies

3.1 Slow motion walk Duration: 15 minutes

Requirements Participants are divided in pairs

Goal of the exercise Participants are taken out of comfort Participants are taken outtheir of their zonecomfort zone Participants activate “dormant” muscles Participants activate “dormant” muscles Participants explore new ways of their Participants explore new waysusing of using bodies their bodies

Instructions Each pair tries to walk as if they were one person. The pairs stand together shoulder by shoulder while holding each other by the waist. Then they intertwine their inside legs: person 1 crosses his left leg underneath person 2’s right leg. Once the inside legs are intertwined with the feet no longer touching the floor, the pairs should try to walk using only the outside legs.

Requirements Participants stand in line shoulder to shoulder Instructions Participants will compete in a sprint. The facilitator points out where the finish line will be. The difference is that the winner of this race will be the last person passing the finish line.

Tips/ attention If theIfpairs catchcatch on toonthis try totryhold the pairs to game, this game, to a race hold a race MakeMake sure sure pairspairs are matched up according to are matched up length and physique according to length and physique 3.3 Slow motion fighting Duration: 15 minutes 62

hypnotized. The hypnotizer sticks his/ her arm forward with the hand stretched upward. The person being hypnotized has to stare at the inside of the hypnotizers hand while keeping his/ her eyes exactly 20 centimeters away from the inside of the hypnotizers hand. The hypnotizer starts moving his/ her hand freely around. The hypnotized person must remain focused on the inside of the hypnotizers hand and move his/ her body in any way possible to keep the 20 centimeter distance between his/ her eyes and the hand.

Requirements Participants are divided into pairs Instructions Each pair will fight each other. In the beginning we start with boxing. The main difference with regular boxing is that the fighting in this exercise takes place in slow motion. The trick is to work together and make the fight attractive to watch. Once players improve during the game, they may add freestyle fighting movements.

The facilitator checks if hypnotizers are not making impossible movements, while encouraging passive hypnotizers to add extra movements.

Tips/ attention You can this game, by having one one You expand can expand this game, by having hypnotizer hypnotize two people using both hypnotizer hypnotize two people using his hands both his hands FourFour participants can even be hypnotized by participants can even be hypnotized one hypnotizer using both hands and feet by one hypnotizer using both hands and

Tips/ attention HaveHave interesting pairspairs fightfight for the interesting forwhole the whole group group End the withwith a massive slowslow motion Endexercise the exercise a massive group fight (Slap-stick cowboy-western style) motion group fight (Slap-stick cowboy-

feet

western style)

3.4 Hypnotized Duration: 15-25 minutes

STEP 4 Making the body expressive

Goal of the exercise Participants learn to react to each other’s Participants learn to react to each movements other’s movements Participants learn to surrender themselves Participants learn to surrender Participants explore new ways of using their themselves bodies Participants explore new ways of using their bodies

4.1 Human sculpture park Duration: 30-40 minutes Goal of the exercise Participants learnlearn to make theirtheir ownown and and Participants to make otherother people’s bodies expressive people’s bodies expressive Participants learnlearn to feel while Participants to comfortable feel comfortable beingwhile looked at being looked at Participants experiment withwith interpreting Participants experiment expressive bodies interpreting expressive bodies

Requirements Participants are divided into pairs Instructions The facilitator explains that one will be the hypnotizer while the other will be

Requirements Participants are divided into pairs 63

EXERCISES Step 3-4

Goal of the exercise Participants learnlearn to react to each other’s Participants to react to each movements other’s movements Participants learnlearn to trust eacheach otherother and Participants to trust workand together work together Participants explore new new waysways of using their Participants explore of using bodies their bodies

invites them for a walk through their newly created sculpture park. At each statue the sculptors are asked to tell something about their creation. The facilitator allows other sculptors to ask questions. Once all the statues have been reviewed, the sculptors go back to their statues again and change roles.

The same process is repeated.

Tips/ attention To make the exercise more challenging the facilitator can forbid the sculptor to touch the statue. Sculptors work with a hammer and chisel on a rock statue instead. Again no mirror language or mimicking is allowed, the sculptors should act natural and realistic; as if really using a hammer and chisel to create the statue.

Instructions The facilitator explains that one participant becomes the sculptor while the other becomes the statue.

The sculptor can mold his partner’s body any way he/ she likes. This is done through literally touching the statue and putting each separate body part in place. It is important that the statues are really molded. Sculptors are not allowed to act out positions, or act as a mirror for the statues. The statues should really become the clay from which the sculptor is creating the statue. Everything should be done by touch and in silence. NO TALKING. When everyone has finished (3 to 5 minutes should be enough) each pair switches roles. The statue becomes the sculptor and vice versa.

4.2 Making an object Duration: 30-40 minutes Goal of the exercise Participants learnlearn howhow to make (their) bodies Participants to make (their) expressive bodies expressive Participants learnlearn working together Participants working together Participants learn to feel comfortable being Participants learn to feel comfortable looked at being looked at Participants experiment withwith interpreting Participants experiment expressive bodies interpreting expressive bodies Requirements Participants are divided in groups of 4 to 6 Facilitator has prepared cards with names of objects written on them

In the next phase the pairs switch roles again. This time the facilitator gives the sculptors a theme. For example: discrimination, bullying, inequality, drunkenness, or any other appropriate theme. The sculptors get to work and when they are done molding their statues the facilitator tells the statues to freeze (stand still and not move a muscle). The facilitator asks all sculptors to come together and

Instructions Each group will be given a card with an object written on it. (Examples: photocopy machine, television, football stadium, ladder, mobile phone, oven, etc.) The group must try to become, or resemble, the object using only their bodies. No movement is allowed and everyone in the group must join and be 64

Once the cameraman has taken position the facilitator describes the setting of the picture, for instance: a factory, or a market.

In what follows participants are free to move into the space and take a position. Once participants have taken a position they are not allowed to move again. When all the participants are inside the designated space, the photographer takes a picture.

Once all the groups are finished, each group is handed a new card. This time the image is allowed to move. Again five minutes are given to prepare, after which the moving images are presented to the other group(s) who will guess what object is being portrayed.

Once the picture is taken everybody is allowed to leave the space and another participant becomes the cameraman.

Keep repeating this exercise until everyone has been cameraman. The facilitator will slowly start to add challenges by allowing participants to make movements or sounds, or by placing additional objects within the space.

Tips/ attention The facilitator makes sure groups are not cheating. Visit individual groups during their preparation and discuss what they are doing 4.3 The perfect picture Duration: 20-30 minutes

Tips/ attention MakeMake sure sure the participants workwork as a as team the participants a Encourage the photographers to take team pictures from different angles Encourage the photographers to take At later stages the facilitator can let pictures from different angles photographer adjust the picture by At later stages the facilitator cangiving let instructions to participants photographer adjust the picture by

Goal of the exercise Participants learn to create an image as a Participants learn to create an image as group a group learn to feel comfortable being Participants Participants learn to feel comfortable looked at being looked at Participants experiment with mise-en-scène Participants experiment with mise-enand filling the stage scène and filling the stage

giving instructions to participants

4.4. One great machine Duration: 15-25 minutes

Requirements Marked space on the floor of at least six by four meters Optional: digital camera and gaffer tape

Goal of the exercise Participants learnlearn to create a human machine Participants to create a human Participants learn to feel comfortable being machine looked at Participants learn to feel comfortable Participants experiment with mis-en-scène being looked at and filling the stage Participants experiment with mis-en-

Instructions A space is marked out on the floor, which will function as setting. Gaffer tape can be used for this. Participants are asked to make an interesting picture come to life within the designated space by using their own bodies. They can become people, objects, or anything they like. The facilitator appoints one volunteer who will be the cameraman.

scène and filling the stage

Requirements None

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EXERCISES Step 4

part of the created still image. After being handed a card, the groups have five minutes to prepare. Once they are done, each group presents their image to the other group(s), who will try and guess the object.

Instructions The participants will be making a machine together. One volunteer starts by making a mechanical movement, while making a certain sound (NO WORDS) corresponding to the rhythm of his/ her movement. The other participants gather around the first volunteer.

One by one they will add their bodies to the machine, thereby introducing a new part, or extension of the existing machine. Slowly all participants become part of one big machine.

Once the machine is finished the facilitator asks the initiator of the machine to speed up or slow down the machine, which should have a serious impact on all movement.

Tips/ attention Encourage participants to think ‘out ‘out of of Encourage participants to think the box.’

Human machines do not have to the box.’ Human machines do not have resemble mechanical ones to resemble mechanical ones Discussion: HowHow do participants visualize Discussion: do participants visualize the inner-workings of social cultural the inner-workings of social cultural mechanisms?

Are they able able to change them? mechanisms?

Are they to change them?

4.5 Emotional Chairs Duration: 20-30 minutes Goal of the exercise Participants learnlearn to improvise and act Participants to improvise and act Participants learn to feel comfortable being Participants learn to feel comfortable looked at being looked at Participants experiment withwith expressing Participants experiment expressing quickly changing emotions quickly changing emotions Participants learnlearn to concentrate Participants to concentrate

Once the group has made one or two machines, the facilitator will introduce themes. Social and cultural conditions within a society are created by the social cultural mechanisms active within society.

The facilitator challenges participants to give expression to the ‘inner-workings’ of these social cultural mechanisms, for instance, racism, bullying, injustice, etc. What forces or powers make someone become discriminative, or unfair? What do these forces look like?

Requirements Two chairs are placed in an open space Instructions During this exercise participants improvise according to the wishes of the audience.

The facilitator invites two volunteers on stage. Once on stage they have to touch one of the chairs. The moment they touch a chair someone in the audience is allowed to shout out an emotion, for instance: LOVE, SADNESS, ANGER, MISERY, PARANOIA, it can be anything. The facilitator should always be ready to shout out an emotion if the audience remains quiet when one of the participants touches a chair.

Participants are invited to try and act out the inner-workings of a theme given by the facilitator. Remind participants that they are not portraying actual persons, but they are part(s) of a machine, with its own energy, dynamics and movements. Making a machine, manifesting the inner-workings of social cultural mechanisms, can be awkward, especially in the beginning. First results will most likely look and sound terrible. Do not worry; it is the ability of participants to express this inner energy of social cultural mechanisms that is most important.

Directly after being given an emotion the participant on stage has to act out this emotion and use it in interaction with the other actor(s) on stage. In the beginning the actors are not allowed to talk. As the scene moves on, the other actor also touches a chair and is given a different emotion by 66

Goal of the exercise Participants analyze theirtheir ownown socialsocial and and Participants analyze cultural position cultural position Participants create a more critical mindset Participants create a more critical Participants learn how to make a social mindset cultural analysis learn how to make a social Participants cultural analysis

After a few scenes one of the chairs can be given a different function. Depending on the group the facilitator can choose it to be a location, an object or an incident (traffic accident, fire, being kidnapped, robbery, etc.) Once participants get a ‘feel’ for the game the facilitator will allow them to use dialogue.

Requirements Plenty of flip-chart paper Plenty of flip-chart paper Markers, pencils, crayons (many colors) Markers, pencils, crayons (many colors) StackStack of magazines, newspapers, or or of magazines, newspapers, brochures brochures Scissors, glue,glue, maskmask tape,tape, gaffer tapetape Scissors, gaffer Participants are divided in groups of four to Participants are divided in groups of four six people to six people

Tips/ attention OnceOnce allowed to speak, players can also be allowed to speak, players can also givenbea given word when they touch a chair.

They a word when they touch a chair. should useshould the given word in each sentence They use the given word in each theysentence say. they say.

Do not a scene off too give give Do break not break a scene off quickly; too quickly; actors time to explore their emotions actors time to explore their emotions Try changing only only one of the actors Try changing one oftwo the two actors on stage, allowing everyone to discover on stage, allowing everyone to discover howhow physically expressed emotions can be physically expressed emotions can interpreted very differently be interpreted very differently

Instructions The facilitator picks a relevant theme linked to the social and cultural reality of the group.

For instance “the position of prostitutes in society” or “the school experience of a child that is always bullied.”

Each group is asked to write down the problems they think are related to the given theme. They may use a maximum of three paper cards and on each card they are allowed to write only ONE word. Once the groups have written down their words, the facilitator collects the cards and puts them away. Then the facilitator hands each group an empty flip-chart paper. Each group will create a collage on the flip-chart paper. Their collages must illustrate the three problems previously written down.

The groups can cut out pictures from magazines and newspapers, make drawings, use tape or torn pieces of colored paper. All creativity is allowed, as long as they do not write any words. After about 15 minutes the collages are hung on the wall and the groups are given time to look at the results.

STEP 5 Social cultural analysis 5.1 Social cultural analysis Duration: 80 minutes 67

EXERCISES Step 4-5

the audience. Once the scene stops being interesting the facilitator will shout FREEZE, and new volunteers are selected to enter the stage. New actors entering the stage are always neutral in emotion.

After the short exhibition the facilitator switches the collages between the groups.

Group A gets the collage from group B, group B the collage from group C and so forth. Two new empty flip-chart papers are handed to each group. The facilitator instructs the groups to make two new collages. One illustrating the CAUSES of the problems they think are shown in the collage they have received, one depicting an IDEAL SITUATION. In this ideal situation the problems illustrated in the collage of the other group are resolved. The facilitator gives all the groups around 20 minutes to finish their collages.

Tips/ attention Facilitators never judgejudge the quality or or Facilitators never the quality truthfulness of any collage or statement truthfulness of any collage or statement The groups should havehave a debate on whether The groups should a debate on the illustrations of their social cultural reality whether the illustrations of their social are true or not cultural reality are true or not 5.2 Jog and Freeze Duration: 20-30 minutes Goal of the exercise Participants learnlearn to improvise and gain Participants to improvise and gain confidence in speaking confidence in speaking Participants explore socialsocial status through Participants explore status through dialogue dialogue Participants analyze and explore the impact Participants analyze and explore the of culture on everyday life impact of culture on everyday life

Once the groups have finished, all the collages are hung on the wall in the following order: CAUSES-PROBLEMS-IDEAL SITUATION (left to right). The facilitator gives everybody time to look at the collages. Once participants seem satisfied with viewing the collages, each group is asked to present their own work. They should use their collages to present:

Requirements Everybody stands in a circle Optional: Musical instruments Instructions The facilitator asks everyone to jog around in a circle while singing a simple song everyone knows. For example: ‘Old McDonald had a farm.’ Unexpectedly the facilitator will shout: “FREEZE.” At this point all the participants stand still and the facilitator points out two volunteers who have to step into the circle.

The facilitator quickly describes a situation and gives roles to the two volunteers. For example: a mother discovers her son is using drugs. One volunteer will play the mother and the other the son. The scene has to start immediately after the instructions have been given. If the scene is no longer developing or interesting to watch, the facilitator breaks the scene off by shouting “JOG.” The two participants in the middle join the circle again and everybody starts jogging while singing the chosen song again. Unexpectedly the facilitator screams “FREEZE” again and

How they interpreted the first collage they received from the other group What things are causing the problems according to them What the ideal situation could look like After the presentation the facilitator glues/ tapes the three words corresponding to the original collage below the three collages.

The group which made the original collage is allowed to comment upon the work and presentation of the other group. After a while the other groups are allowed to join the discussion as well. Once the discussion is finished the facilitator asks the next group to present their collages and the discussion process is repeated. Give enough time to discuss each series of collages.

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Instructions A brainstorm starts with formulating a question.

This question has to be relevant for the group and must be formulated short and concise. Brainstorm questions relate to the ‘here and now,’ they do not refer to historical events, or possible future events. Examples of simple questions

appoints two new volunteers to start a scene. Continue on like this, exploring the many possible scenes which could occur in the daily lives of the participants.

Tips/ attention KeepKeep the description of the as short the description ofsituation the situation as as possible short as possible Instead of two volunteers the facilitator can Instead of two volunteers the facilitator ask more people to join the circle, right from can ask more people to join the circle, the start as the develops rightor from thescene start or as the scene Choose settings and characters that are close develops to participants’ everyday reality Choose settings and characters that are

What problems do prostitutes in X face?

What causes children to drop out of X high-school?

What are effective steps to improve domestic workers’ working conditions in X?

close to participants’ everyday reality

The facilitator makes sure all participants agree about the question and understand each part of the question. The facilitator then writes the central question down on a big piece of paper and hangs it in front of the group.

STEP 6 Define the problems 6.1 Brainstorm Duration: 60 minutes Goal of the exercise Participants learn how to gather the thoughts of an entire group Participants explore and discuss new and existing ideas within the group

All participants are handed out 1/3 A4 sized paper cards, all of the same color, and have to write down as many answers to the central question as they can. The facilitator reminds everyone that there are no wrong answers. After 5 minutes the facilitator asks participants to select their three best answers. The facilitator divides the

Participants find collective answers, while pushing the intuition of a group

69

EXERCISES Step 5-6

Requirements Everybody sits in a half circle facing a whiteboard, or the wall Many 1/3 of A4 sized pieces of colored paper, all of the same shape (Minimum 12 per participant) Markers, mask tape, flip-chart paper, plenty of colored paper

participants in groups of 3 to 5. Within their newly formed groups, the participants share their answers. Each group selects the five best answers and writes them down on new cards. Make sure the answers are written down using BIG LETTERS and that no more than three words are written on each card. It works best if the facilitator shows a sample card to the group.

facilitator places all the clusters together in the shape of a big circle. The facilitator asks the group if one of the clusters of cards should be placed at the heart of the circle. If this is not possible, maybe lines can be drawn between related clusters.

The facilitator monitors the discussion until consent is reached over a final grouping of the cards. Once everyone agrees about the final positioning of the cards and naming of the clusters, the brainstorm session ends.

The created image should represent the collective answers of the group to the central question.

The cards are collected by the facilitator.

While reading each card out aloud the facilitator places them in random order on the blackboard in front of the participants. If ideas are not clear immediately the facilitator asks the groups to explain. Make sure everybody can easily read all the answers.

Once all the papers are on the blackboard, a final opportunity is given to participants to add extra ideas or answers. Every new idea is discussed with all participants, no new ideas are allowed to be placed on the blackboard without the consent of the entire group.

Tips/ attention Try to as little judgmental or editorial Trygive to give as little judgmental or comments as possible, let the group do the the editorial comments as possible, let thinking group do the thinking StartStart withwith a couple of random question to a couple of random question warm up to warm up 6.2 Writing relay Duration: 25-30 minutes

The facilitator then asks which ideas or answers go together. Cards with similar or corresponding answers are clustered by hanging them closer together. For instance HEALTH related cards go together, cards related to ECONOMIC issues go together, and answers relating to the PERSONAL sphere go together.

Goal of the exercise Participants are stimulated to think quickly Participants are stimulated to think Feelings and ideas within the group are quickly Feelings and ideas within the group are expressed and collected expressed and collected Participants learnlearn to discuss and define Participants to discuss and define problems problems

The facilitator categorizes and clusters the cards, but does so only by following the instructions from the group. Each cluster of cards is given a name, which is written on a card with a different color and added above the cluster of corresponding cards.

The facilitator should be focused on what the group is trying to say and not on giving a good title to any cluster of cards.

Requirements Participants are divided in groups of 4 to 5 and line-up about 10 meters away from a whiteboard Markers and a whiteboard Instructions The facilitator has to decide beforehand what information he would like to gather from the participants. For example: we want to gather a list of problems related to the professional

Once all the cards are clustered and each cluster of cards has been given a title, the 70

quickly as possible. After three minutes the race is over.

Both groups now move on to the next topic: PROBLEMS. Again participants run back and forth to write down their problems. Once the second race is over, everyone sits down in front of the whiteboard. Together with the group the facilitator judges which desires and problems are to be counted, and which ones are not valid: because they are illegible, identical to others or simply not a desire or problem. The winning group is allowed to give a punishment/ penalty to the other group1. Once the punishment/ penalty has been received the entire group discusses the various desires and problems written on the whiteboard. Participants are invited to reveal the stories behind the desires and problems they have written down. In the end all problems and desires are documented and collected in the logbook.

To create a contrast and stimulate participants’ thinking, a different category is added, for example: your greatest desire in life. Once the categories are explained to the group, the facilitator draws two big rectangular boxes on the whiteboard, each box representing one group. A vertical line is drawn in the middle of each box, separating it in two. On top of each half the facilitator writes a category.

In our example this means DESIRES is written above the left half and PROBLEMS is written above the right half of the box. Below an example of how each box should look like

DESIRES

PROBLEMS

Tips/ attention Groups design a “group yell”yell” before the start Groups design a “group before the of the race, which they can use during the start of the race, which they can use race.during the race.

Check to see participants take take turnsturns in Check to that see that participants running to the whiteboard in running to the whiteboard

The facilitator hands each group a marker and shows them which box they will be writing in. Each group is positioned in a straight line, facing the whiteboard. The first participant in line is given a marker. After the facilitator has given the start sign, the first participant in line, holding the marker, will run to the whiteboard and write down one of his/ her desires in the DESIRES box. Once finished writing it down, he/ she runs back quickly and hands the marker over to the next person in line, who then starts running towards the whiteboard to write down one of his/ her desires. This way a relay race develops, with the marker being the baton, and each participant writing down a desire as

1

1. In some cases it is better to let the losing group choose a reward for the winning group. Facilitators should decide which works better, punishment or reward, given the background of the participants.

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EXERCISES Step 6

lives of the participants. The facilitator explains to the group that the following game will help in collecting information about the problems related to their professional lives.

6.3 Problem Tree Duration: 60+ minutes

Plenty of smaller white papers with big arrows drawn on them Optional: digital camera

Goal of the exercise Participants identify key problems and their Participants identify key problems and effects their effects Participants explore and discover the Participants explore and discover the interrelatedness of problems interrelatedness of problems Participants built a critical mindset and better Participants built a critical mindset and understand the problems they are facing better understand the problems they are facing

Instructions The facilitator asks each group to write down all the problems participants are facing in relation to a given clear theme or specific aspect of their lives. Gathered problems from previous exercises or discussions can also be used. Once participants feel that all the relevant problems are collected, the problems are written down clearly on white pieces of paper, one problem per piece of paper. Once all the problems are collected, they are photocopied and each group is given

Requirements Participants are divided in groups of 5-6 Plenty of paper and markers

In some cases it is better to let the losing group choose a reward for the winning group.

Facilitators should decide which works better, punishment or reward, given the background of the participants.

Business

doesn’t develop

Example of a simple problem tree about the problems market sellers face, made during a workshop, Lampung, TDE 2011

Hardly any profit

corrupt officials

Few people buying

Bad relocation

High prices

eviction of sellers

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Groups are given around 20 minutes to discuss and create their first problem tree.

A good way to build a problem tree is by creating it on the floor.

Once all the groups have finished, the facilitator invites each group to present their problem tree to the other groups. Allow plenty of time for discussions, questions and remarks. Discussing and presenting the problem trees is the most important part of this exercise.

The facilitator explains each group will be building their own problem tree. At the bottom are the roots, the CAUSES of the problems. Out of the roots grows the stem of the tree, the heart of the matter. Connected to the stem are the branches and leaves, the EFFECTS of the problems. The goal for the participants is to find causal relationships between the problems in front of them.

It often happens that changes have to be made to a tree, because problems are placed in the wrong order or problems assumed to be related, turn out not to be related. The facilitator encourages the groups to make these changes. When all the problem trees have been presented, the facilitator gives each group another 15 minutes to make final changes to their problem tree.

Problems that come first, in other words, the problems that are causing other problems, should be at the bottom. The problems that occur as a consequence of other problems should be placed higher up the tree. An arrow is placed between problems that are directly related. If certain problems do not fit in the tree they can be left out. Not all the problems written down have to be part of the tree, they can be added later, or left separately. Also not every problem has to have a separate cause, it could be one problem is causing many other problems to occur.

The final problem trees are documented. A photo or drawing of the tree can be inserted into the logbook.

Tips/ attention Visit Visit the individual groups during the the the individual groups during structuring phase of the tree structuring phase of the tree If groups havehave difficulty starting, helphelp them If groups difficulty starting, withthem the start of their tree with the start of their tree

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EXERCISES Step 6-7

a set of papers with all the problems written down on them. A stack of papers with arrows drawn on them is placed in the middle, every group can take out as many arrows as they like during the building phase of the problem tree.

STEP 7 What can we do? (Talent and Needs Assessment)

members within a group, and those of the group as a whole.

Opportunities and threats relate to EXTERNAL factors, outside the group’s control. Opportunities are attractive outside factors that could positively influence the results. Examples are special days, like Labor Day, Independence Day or Women’s Day, which can potentially add momentum.

Changes in government policy, popular culture and/ or public opinion, existing other activities, demonstrations and/ or festivals taking place, are also considered opportunities. Threats are outside factors that could jeopardize or negatively influence the results of the group. These could be new regulations or government policy, public disputes, changes in popular culture and/ or public opinion, bad press, natural disasters, etc. It is important to try and look at threats as challenges, not as dead-ends.

7.1 SWOT analyses Duration: 50-60 minutes Goal of the exercise Participants gain insight into thethe potential Participants gain insight into (effect) of their presentation potential (effect) of their presentation Participants learn to differentiate between Participants learn to differentiate external and internal factors influencing between external and internal factors their process influencing their process Participants develop a critical mindset Participants develop a critical mindset Requirements Participants are divided into groups of 5 to 6 Plenty of flip-chart sized paper, smaller papers, markers and mask tape Instructions The facilitator explains SWOT stands for strengths, weaknesses, opportunities and threats. Strengths and weaknesses relate to INTERNAL factors within the group.

Strengths can be the positive attributes of individual people in the group: their knowledge, backgrounds, education, contacts, reputations, or skills. Strengths can also relate to positive attributes the group collectively possesses: their compactness, fighting spirit, will to succeed, patience, network, etc.

Once the group understands what strengths, weaknesses, opportunities and threats are, it is time to determine which part of the process the group wants to do a SWOT analysis on. It could be on the remainder of the rehearsal process, on the presentation itself, or any other part of the process.

Once a choice is made where the SWOT analysis will focus on, the facilitator hands each group two flip-chart papers. One group is given the task to write down as many strengths and weaknesses as possible.

The other group tries the same, but with opportunities and threats. Groups have around 15 minutes to write down as many items as they can. After the groups have finished they swap their flip-chart papers with those from the other group. The group writing strengths and weaknesses receives the opportunities and threats of the other

Weaknesses on the other hand are internal factors within the group’s control that hinder the group from reaching its full potential.

Examples are: laziness, lack of knowledge, lack of access to information, lack of technology and/ or resources, bad tempers, internal fights, bad time management, jealousy, internal conflict, etc. Weaknesses can also be divided into those of individual 74

group and vice versa. They have 10 minutes to add extra items or make remarks on items written by the other group.

Tips/ attention Always compare strengths with Compare strengths with opportunities, opportunities, often promising matches can often promising matches can be made be made between the two between the two Comparing weaknesses to threats helps the Comparing weaknesses to threats group in assessing the risks. Strategies to helps the group in assessing the risks. reduce or minimize the risks can be made Strategies to reduce or minimize the risks can be made

Once everybody is finished, the facilitator collects all the papers and hangs them on the wall. Participants are instructed to read what has been written down, before the facilitator will start the discussion. Important topics to discuss: Are any of the threats or opportunities reason to change strategy?

Do we need to invest in individual group members? Is it realistic for this group to create a theatrical presentation?

Sharing food and stories at the end of the TANAH#2, Alam Inspirasi Kita performance, Yogyakarta, TDE 2012 75

Bibliography Books/ articles

Marin, Cristina 2010 The Seriousness of Play. Hand-out of workshop (SDEA conference, Singapore)

Boal, Agusto 2002 Games for actors and non-actors -2nd edition. Routledge, London

Teater Satu 2010 Teater Asyik, Asyik Teater. Buku Panduan Belajar Teater Untuk SMA Bandar Lampung

Boal, Agusto.

1979 Theatre of the Oppressed. Theatre Communications Group Inc, New York

Theatre Embassy 2009 Desierto, Creating from the void.

Amsterdam.

Bodden, H. Micheal 2010 Resistance on the National Stage: Theater and Politics in Late New Order Indonesia.

Center for International Studies, Ohio University

The Institute of Cultural Affairs 1994 Group Facilitation Methods –Focusing collective power for change-. Brussels.

Breed, Ananda 2008 Promoting tolerance and dialogue through interactive theatre.

Hand-out for IREX workshop. Jakarta

Thompson HS & Rainy MP Hutabarat 2011 Modul Pelatihan Teater Untuk Penguatan Komunitas. Yakoma-PGI, Jakarta Websites

Erven, Eugene van 2001 Community Theatre, Global Perspectives. Routledge, London

www.kit.nl (Royal Tropical Institute, Amsterdam) www.theatreoftheonpressed.org www.communicationforsocialchange.org www.alivetotheworld.co.uk www.barefootguide.org www.businessballs.com www.taringpadi.com

Fitria, D. 2011 Menilik Teater Komunitas. PANGGUNG Majalah Festival Teater Jakarta.

Hagoort, Giep 2000 Art Management entrepreneurial style.

Eburon Publishers, Delft.

Malna, Afrizal.

2011 Komunitas, Rumah-Kedua dan Kandang Pertarungan.

PANGGUNG, Majalah Festival Teater Jakarta.

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Since the start of time, theatre has been used as a means to share information and feelings which confirm or challenge existing beliefs. Theatre is performed live, ‘here and now,’ directly engaging with its audiences. Theatre persuades, is powerful and almost impossible to control.

Organize, Show and Empower was written in the belief that everybody has the capacity to use theatre’s stimulating and convincing powers to create a more just and fair society. Anyone interested in using theatre for development and education with the aim to Empower participants Raise awareness for social issues Produce positive images for underrepresented groups in society will find this handbook extremely helpful. The process of empowerment and creation is broken down in simple steps, offering a straightforward curriculum of theatre for development and education anyone can use.