Action Theatre: Initiating Changes

This 18-page tactical notebook on the Action Theatre methodology examines one component of the work of Ain O Salish Kendra (ASK), a legal and human rights resource centre created in 1986 in Bangladesh to promote principles of gender equity, social justice, human rights, and the rule of law. As detailed here, ASK has formed Action Theatre groups, or Manobadhikar Natya Parishad (MNP), in villages in 12 areas throughout Bangladesh. These groups initiate discussion, debate, analysis, and actions on critical human rights issues in their community.

The tactical notebook, written by Motahar Akand of ASK, outlines the Action Theatre framework - its key elements and steps, as well as some of the challenges and unexpected outcomes ASK has seen. In brief, Action Theatre is an applied form of theatre that includes a dramatisation of a social problem, followed by the participation of the community in identifying potential solutions and then the community moving forward to actually carry out the proposed solutions. Each of the 6 key elements and 8 steps are described in detail, with a diagram (on page 13) illustrating how all the components of the strategy work together.

To show exactly why "[l]ocal theatre groups are now gaining ground as a mobilizing force in Bangladesh", a case study within the report explores the application of this tactic in 2003 in Shialcole Village, Sirajgonj District, Bangladesh. The steps to building this force for change included:

1) Rapport Building and Primary Team - An action theatre group had been formed in the village one year earlier and was actively involved in influencing public opinion on local cases of injustice. That process had involved an initiator making a list of individuals interested in working for the betterment of society through theatre. Those people were then invited to several formal discussions on current social problems, their consequences, and probable remedies. A primary group is formed. ASK recruits a Community Organiser (CO) who works under the supervision of partner non-governmental organisations (NGOs). The CO together with one Theatre Activist (ASK core team member) meet with local people in their workplaces or homes. Gradually they develop a trusting relationship with them.

2) Research and Determination of Issue - The group members carried out informal research in the village, and discovered that at least three families were suffering because women who divorced their husbands were unaware of their legal rights. Through workshop sessions, focus group discussions, question-answer processes, and newspaper clipping analysis, team members developed a deeper understanding of the problem. (According to Akand, many families falsely believe that if a woman divorces her husband, she loses the right to the dower. They rarely know about possible legal remedies to the situation, and either refrain from divorcing or forgo the dower.)

3) Development of Story - The group organised a workshop on the issue and developed a story involving an imaginary character named Rehana whose husband "had tortured her almost everyday" during their three years of marriage. "Rehana demanded he divorce her, but the husband refused because he thought that if he divorced her, he must repay the dower money..." [On page 9 of the report, details are provided about the participatory story development step, which is divided into two parts: storytelling, and story analysis. Different processes are used to develop the story, such as the ABCD technique, Moving Circles technique, Relay technique, and other approaches.]

4) Dramatization of Story - The group dramatised Rehana's story by inserting theatrical elements (e.g., music, dance, choreography) through a workshop process that drew upon improvisation, still image, power games, mirror games, and other techniques.

5) Practice - Through continual practice, the group worked to better communicate the themes they hoped to convey. The objectives of the presentation included: the families in the community affected by the lack of information about legal remedies regarding divorce and dower would seek legal recourse; their neighbors would help and support them in this process; and victims would have their dower money returned to them. They used a "fast forward rehearsal technique" that involves performing a 30-minute drama within 10 minutes. A performance event facilitator also practiced the post-performance question answer/debate/discussion session. A list of questions and clues for discussions was finalised through a participatory process; a performance event management plan was also developed.

6) Performance and Feedback - On the day of the event, the facilitator introduced the theatre group and began to develop a rapport with the audience. At this point, the drama was staged in a public place in the village where over 200 villagers were present. Among those attending were mediators, Union Council members, teachers, and a few women leaders who had received ASK training on law, human rights, and gender. The facilitator stopped the performance just at the moment when Rehana (who had finally decided to divorce her husband) and her brothers were insulted and kicked out of the husband's house (having gone to ask for the dower money). He asked the audience, "Will Rehana get the dower money if she goes to court?" Most of the audience answered "no." Some were silent, and one woman said "yes." The facilitator asked someone from the "no" side to explain why Rehana would not get the dower money. Two people came up to the stage, and explained the reasons and their views; audience members also added their perspectives. The facilitator then asked the audience if they could listen to the woman who said that Rehana would get the money. The audience agreed, and the woman went up to the stage and said "Rehana was supposed to be paid the dower during the marriage, as it is a condition for a Muslim marriage. She will receive it even if she initiated the divorce." The audience disagreed with her entirely. Another woman, who had received some legal training, stood up and said that according to the law, Rehana will get the dower if she goes to court. She also asked the Union Council member in the audience to confirm that this was correct. When the audience continued to disagree, the facilitator intervened again and asked the audience, "Do we want to see the last part of the drama where Rehana goes to court, so we learn the court's decision?" The audience clapped and invited the group to act out the last part of the drama. In the end, the judge declared a decision in favor of Rehana. When audience members persisted in their doubts (pointing out the impracticality of impoverished women accessing the court system), the Union Council member addressed the crowd, describing various legal remedies.

7) Action - After a long discussion, the audience remained divided. A decision was made to send five people from each side to meet a lawyer who worked with one of ASK's local NGO partners. This meeting took place one day after the drama. Participants learned the woman who divorced her husband has full rights to the dower money.

8) Institutionalisation - With the help of the local NGO, one out of the three local women who had divorced their husbands went to court. "Now, everybody in Shialcole Village knows that the wife should be paid the dower money even if she chooses to divorce her husband."

The final portions of the tactical notebook extend beyond this specific case study to reflect on other ways villagers in 11 of the other areas ASK has worked have used structural support provided by ASK's core team to take a further step to initiate relevant activities such as study circles dedicated to discussing legal provisions that can enable citizens to gain justice (leaflets and bulletins produced by ASK's Training and Communication unit are usually used in these study circles). Also, specific impacts ASK has seen through the expansion of Action Theatre in Bangladesh are described in detail. In short, "[a]t the grassroots level, the Action Theatre groups are federated in sub-district levels, tirelessly challenging human rights violations in their communities. They have seen some remarkable achievements."

Challenges are outlined as well; they include: addressing misapplication of the tactic, overcoming divisions within theatre groups and NGOs, overcoming community members' suspicions toward NGOs, and coping with threats and reprisals from specific groups ("We have relied on journalists and local community members to support and defend us.") Steps for transplanting the tactic are offered, and a list of steps for getting started is offered. A crucial point to remember, according to Akand, is that "the theatre group members have responsibilities that go well beyond the stage. They have to commit to seeking social change. They are researchers of human rights abuses, analysts of social problems, performers, and resources for information in their communities. Without this level of strong social commitment, Action Theatre is not possible."

Akand concludes that "[a]ction theatre is a tactic with many advantages. It is a tactic that is owned by the communities where it is implemented, and adaptable to a wide range of human rights issues. It builds capacity and leadership at the local level. It is also an effective educational tool for sharing information about human rights laws and principles. Perhaps most importantly, action theatre empowers local communities and motivates passionate, creative people to actively address human rights problems occurring in their villages."