"This paper uses Australian case studies to demonstrate the use of humour in social justice and eco-pax 1 movements. Drawing from the literature and from personal experience in activist street-theatre over more than twenty years, the author discusses the rationale and motivations behind humorous act
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ivism, and notes audience reactions and impacts on participants. Using non-violence theory within the multidisciplinary paradigm of Peace Studies, he describes how activists use humour to enliven popular education, and to create liminal atmospheres conducive to non-violent conversion. Humorous activism creates common ground and complements other modes of activism. It is inclusive, drawing in audiences and adherents and attracting media attention. It simplifies and enhances communication, and allows activists to release emotions such as rage and frustration, while at the same time providing positive, enjoyable experiences for audiences. It can empower and inspire audiences, and bring a healthy balance and diversity to activism." (Abstract)
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"Offering a toolkit for students interested in running community arts groups, this book includes: international case studies and first-person stories by practitioners and participants; sample exercises, both practical and reflective; study questions; excerpts of illustrative material from theorists
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and practitioners. This book can be used as a stand-alone text or together with its companion volume, The Community Performance Reader, to provide an excellent introduction to the field of community arts practice." (Publisher description)
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"This paper provides an ethnograpic analysis of the relationship between theatre groups and donors/theatre groups and audiences that moves away from the national planning / social engineering vs domination/resistance frameworks to highlight what happens at the interface of the development encounter.
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It also considers the impact of foreign funding on Nepali theatre at large. The issues that I raise refer to urban professional / semi-professional actor's representations and experiences of doing social theatre." (Abstract)
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"Drawing on the work of scholars and practitioners such as Augusto Boal, Gloria Anzaldua, and Trinh Minh-ha, these essays advocate oral history and oral history-based performance as means to challenge and expand upon traditional ways of transmitting historical knowledge. The contributors' central co
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ncerns are performative aspects of oral history itself and the theatrical or classroom "re-performance" of oral history. The essays detail classroom and public pedagogies, community-based interventions, processes of developing interview-based performances, and the ethical and political implications of oral history as an embodied form of representation." (Publisher description)
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"[...] this book provides students with an introduction to the theory and practice of Theatre for Development (TfD). Since the 1970s, TfD has established itself as a process through which communities can address issues within their own self-development through participation in theatre practice. From
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its beginnings in sub-Saharan Africa, the Indian sub-continent and Latin America, TfD has now spread across the globe as an effective development strategy. The author examines TfD within the context of evolving development theories and practices, including participatory approaches that encourage individuals and communities to transform themselves from the objects into the subjects of their own development. The book is illustrated with case studies taken from around the world, and from many different development sectors, including health, literacy and voter education." (Publisher description)
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"This toolkit and associated material, including the CD-ROM provided, introduce you to Forum Theatre as a tool for HIV and AIDS education. The toolkit has been written with special consideration for youth groups and amateur theatre groups in English-speaking Africa who wish to address HIV- and AIDS-
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related issues in ways that are creative and engaging." (Page 2)
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"Eileen Blumenthal provides a comprehensive overview of the history and technique of puppetry and examines in depth and detail the unique nature and abilities of puppets and the countless roles they have played in human societies across the globe for thousands of years. Blumenthal draws examples fro
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m an astonishing array of puppeteers and performances, as well as works of art and historical artifacts to provide readers with a comprehensive view of the world of constructed actors and the eclectic, and often eccentric, artists who created them. From bunraku to Miss Piggy, from the shadow puppets of Java to Howdy Doody, from African marionettes with outsize genitalia to sweet and loveable Lamb Chop, from Senor Wences's famous hand (literally) puppet to the minimalism of Russian puppet master Sergei Obraztsov, whose puppets consisted of nothing more than two small balls, each stuck on the end of a finger - the spectacular range and variety of the world's puppets is explored through more than 300 illustrations and Blumenthal's lively, accessible prose." (Publsher)
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"This book argues that indigenous modes of communication - for example the oral tradition, drama, indigenous entertainment forms, cultural modes and local language radio - are essential to the societies within which they exist and which create them; and that coupled with newer, or modern forms of co
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mmunication technology such as the internet and digitised information, endogenous modes of communication are paramount to the processes of human development in Africa." (Publisher description)
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"Le manuel que vous avez entre les mains fournit dans sa première partie des informations générales sur le VIH/SIDA. Il rend compte de l’ampleur de la pandémie du VIH/SIDA dans le monde et en Afrique subsaharienne, établit ses causes, inventorie les facteurs favorisant la transmission du VIH
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et les moyens de prévention. Il explore également certains aspects de l’impact socio-économique du VIH/SIDA. La seconde partie met l’accent sur le théâtre pour le développement qui est un outil de communication sociale efficace, accessible, économiquement et culturellement adapté au contexte africain. Pour aider les groupes de théâtre qui veulent utiliser cet outil de communication, des consignes sont données sur l’élaboration de messages sur le VIH/SIDA et des idées fournies pour la rédaction des textes dramatiques sur ce thème. Enfin, en ce qui concerne la mise en scène et le jeu d’acteur, le manuel fournit des orientations sur la construction d’une pièce de théâtre, le décor, la distribution des rôles, ainsi que sur la création ou la recherche du personnage. Enfin, la dernière partie du présent manuel, qui correspond aux annexes, contient les cours de théâtre forum dispensés par Prosper Kompaoré, directeur de l’Atelier Théâtre Burkinabé, durant “L’atelier de formation sur l’approche théâtre en matière de lutte contre le VIH/SIDA” qui a été organisé par l’UNESCO/BREDA du 10 au 20 décembre 2002 à la Maison de la Culture Douta Seck, ainsi que des scénarios sur le VIH/SIDA. Le premier scénario “Le Défi ” est l’oeuvre de la troupe de théâtre Kaadu Yaraax tandis que le deuxième est le fruit des travaux d’atelier. Ces sketchs sur le VIH/SIDA pourront être interprétés par des groupes de théâtre ou être utilisés comme source d’inspiration pour créer d’autres sketchs." (Conseils pour l'utilisation du manuel)
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"This toolkit is for people and organisations that support NGOs and CBOs responding to HIV/AIDS in developing countries. These include NGO support programmes, training institutions and individual trainers. The toolkit can also be used by NGOs and CBOs themselves to build skills within their own orga
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nisations and implement advocacy work. It is important that people using this toolkit already have some basic facilitation skills, for example in guiding large group discussions and small group activities. It is also helpful if they have some previous experience of advocacy work around HIV/AIDS, although this is not essential." (Page 5)
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"The use of folk arts in rural development clearly has limitations as to the role that it can play in changing people’s behavior, but it is an effective tool for communication in most cases. The greatest strength of this type of informal education lies in its ability to capture the audience’s at
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tention through entertaining spectacles and to convey new ideas and information to people. In addition, the Bhats’ social position plays an important role in the education process, as they are a marginal community that has provided social commentary through performance arts for centuries. Thus by employing them, NGOs and government agencies appropriate the benefits of their ritual discursive authority. Also, these organizations are aided by the inversions of the social order that occur during shows because the folk artists are able to command the attention of large audiences and thus disseminate their messages among diverse groups of people. In addition, the kathputli tradition of North India is steeped in mythology and symbolism, and these traits give the puppets themselves special ideological status as metonyms and liminars. In turn, these attributes allow the puppets to exist in a realm that is different from that of live actors, and thus they can communicate more effectively as they are exempt from many of the rules and biases that are linked to human behavior. Despite the numerous benefits of using folk arts in development programs, follow-up sessions and more extensive education for villagers and performers are needed to change behaviors regarding complex issues. These performances are quite successful at conveying information, but people are unlikely to incorporate into their lives new ideas regarding issues like folk medicines." (Conclusion, page 63)
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