Display candidate transaction variables for article
| Id | 891 | |
| Author | Abdulla S. | |
| Title | The art of inclusion: Contradictions affecting theatre for development interventions in Malawi | |
| Reference | Abdulla S.; The art of inclusion: Contradictions affecting theatre for development interventions in Malawi ;Handbook on Promoting Social Justice in Education vol: issue: page:999.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85088472593&doi=10.1007%2f978-3-030-14625-2_15&partnerID=40&md5=5e2fb18d18f6110f19dfc544ad3e8dea |
| Abstract | In development, there have been a considerable number of calls from academics, practitioners, nongovernmental organizations (NGOs), community leadership, and grassroots activists to ground development principles and efforts in people’s own experiences, using their own cultural resources. It is important because grounding development in people’s own experiences represents a shift away from the paternalism of the past and recognizes the lived realities of beneficiary communities and, consequently, gives development initiatives a higher chance of succeeding. To do this requires the use of inclusive practices. In short, inclusive practices offer a platform for working with local communities as vital partners in development, rather than passive recipients. Despite the popular theoretical awareness of the importance of inclusive community work and the willingness of implementers, practical applications on the ground have proven to be more challenging. This chapter reflects on these challenges through a discussion of how facilitators and practitioners of Applied Theatre, specifically Theatre for Development, have approached HIV and AIDS interventions. Drawing on five instances from a Theatre for Development project implemented in Malawi in 2011, the discussion explores how inclusivity is affected by external formation and origins of projects, the internal external dynamic, assumptions of commonality, choice of mediums for engagement, and participation of communities at process vs. product stage of the intervention. The chapter also offers a summary of key lessons on inclusion from the project/discussion and possible suggestions for a meaningfully inclusive TFD practice. © Springer Nature Switzerland AG 2020. |
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| The choice of activities (drawings, theatre, images, game, songs, dances, exercises, writing, conversations, etc.) that are used when engaging with participants in arts-based initiatives makes a big difference to the quality of contribution, validity, and impact of the engagement. . | In short, inclusive practices offer a platform for working with local communities as vital partners in development, rather than passive recipients. . | In short, inclusive practices offer a platform for working with local communities as vital partners in development, rather than passive recipients. . | The varying specificity of culture plays a pivotal role in attempts at inclusive practice. . | These efforts from the performing team set them up for further acceptance by the community and created a warm environment conducive to their inclusion into the community and the communitys inclusion into the remaining stages of the project. . | This in turn facilitates the community to identify with the issues raised by the performance and ultimately their active participation not only in meaningful dialogue but also change. . | This is particularly true when such games belong to the traditions and culture of the participating individuals. . | It gives them room to explore their ideas and reframe discourses that affect their lives. . | A locally inclusive definition of the initiatives, their working partners, and concepts helps in setting up appropriate, valid, participatory, community owned, and sustainable people-centered initiatives. . | Failure to do so risks blind or forced inclusion which alienates/excludes target communities. . | This in turn tended to alienate the community audience members and hindered their full participation in dialogue about some important issues raised by the performance. . | This mispositioning alienated most audience members of the community from the issues that the scene raised excluding them from a discussion they should have been a part of. . | This in turn distances the community from the issues being presented by the performance shifting it towards a spectacle and reducing its capacity for intervention. . |
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