Four Drama Workshop Models in Anti-Racism, Anti-Sectarianism, Human Rights and Gender

59 Pages·2017·3.93 MB·English

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Books/Book Chapters Conservatory of Music and Drama
2012
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Mary Moynihan
Technological University Dublin, [email protected]
Follow this and additional works at: https://arrow.tudublin.ie/aaconmusbk
Part of the Education Commons, and the Other Theatre and Performance Studies Commons
RReeccoommmmeennddeedd CCiittaattiioonn
Moynihan, M. (2012) Acting for Change – Four Drama Workshop Models in Anti-Racism, Anti-
Sectarianism, Human Rights and Gender Equality and Storytelling to Promote Reconciliation, Smashing
Times Theatre Company.
This Book is brought to you for free and open access by
the Conservatory of Music and Drama at ARROW@TU
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Funder: Donegal CDB Peace and Reconciliation
Partnership and the European Union’s Regional
Development Fund.
Performance n Training n ParTiciPaTion
Acting for

Change
Four Drama Workshop moDels
• Anti-Racism • Anti-Sectarianism • Human Rights and
Gender Equality • Storytelling to Promote Reconciliation
Delivered by Smashing Times Theatre Company and supported
by Donegal CDB Peace and Reconciliation Partnership.
European Union
European Regional
Development Fund Donegal County Development Board
Bord Forbartha Chontae Dhún na nGall
Investing in your future
Comhairle Chontae Dhún na nGall
Donegal County Council
Contents
3
Acting for Change
project description

6 Independent evaluation,
Programme successes

Drama moDels:
10 1) Addressing Diversity
through Drama – Anti-Racism
Workshop Model

22 2) Acting together
– Anti-sectarianism Drama
Workshop Model
32 3) Human Rights and Gender
equality through
Drama Workshop Model

42 4) storytelling through Drama
to Promote Reconciliation

resources:
50
Guidelines for Drama
Facilitators

51 suggestions for supporting
Anti-Racism
/ Anti-sectarianism work

52 Acting for Change Information
Leaflet to accompany the
drama workshop models
56
Additional Information:
References and Biographies
SmASHinG TimES THEATRE ComPAny LTD
is a professional theatre company involved in professional
performance, training and participation. The work of the
company is underpinned by a rights-based approach and a
commitment to artistic excellence and social engagement. The
company has four high profile patrons – Maeve Binchy, Brian
Friel, Tim Pat Coogan and Robert Kee. Smashing Times Theatre
about This Booklet
is supported by Dublin City Council Arts Office.
SmASHinG TimES THEATRE ComPAny DiRECToRS: This booklet is written by Mary Moynihan and produced by Smashing Times
Dr Patricia Kennedy, Senior Lecturer in Social Policy, School Theatre Company Limited as part of Acting for Change, a year-long arts
of Applied Social Science, University College Dublin; Dr Eric programme using high quality drama and theatre processes to promote
Weitz, Head of Drama, School of Drama, Film and Music, reconciliation within Donegal and on a cross-community, cross-border
Samuel Beckett Centre, Trinity College, Dublin; Dr Ciara Mc basis. As part of the project, in addition to presenting a professional theatre
Mahon, General Medical Practitioner and Visual Artist; performance and seminar, the company developed four new awareness raising
Sandra Berger, Financial Consultant. participative drama workshop models, designed by Mary Moynihan to promote
anti-racism, anti-sectarianism, equality and storytelling for reconciliation.
BooKLET DESiGn By:
[email protected] The four drama workshop models are printed in full in this booklet along
with resource information for drama facilitators and a project description and
CoPyRiGHT © Smashing Times Theatre Company Ltd independent evaluation for Acting for Change. The aim of the booklet is to
First published June 2011 by Smashing Times Theatre share skills and knowledge and to make the drama models available to a wider
Company Ltd. Smashing Times Theatre Company and all audience. The models can stand alone or be used as part of a wider approach
referenced authors accept no liability arising from the use to promoting community relations and can be accessed by artists, drama
of these materials or any such third party materials. facilitators, youth workers and teachers who are interested in using drama to
promote anti-racism, anti-sectarianism, gender equality and human rights.
ACTinG FOR
CHAnGE
projecT
DescripTion
acting for change was an innovative
arts programme using drama and theatre
to promote reconciliation and mutual
understanding within Donegal and on a
cross-community, cross-border basis.
The programme was delivered by Women’s Network, the Balor
Smashing Times Theatre Company Arts Centre, Ballybofey and Plain
and supported by Donegal CDB Speaking Community Theatre,
Peace and Reconciliation Partnership. Omagh.
The project engaged participants from
a cross-border and cross-community acTing For change
perspective, bringing people together to evenTs and individuals including Susan McEwan,
explore themes that are a consequence Corrymeela Community/Irish Peace
of the conflict in Northern Ireland and Drama Workshops Centres and Smashing Times Theatre
the Southern Border counties. The project • Ten Storytelling Workshops through Company Drama Facilitators who worked
promoted equality, diversity and the Drama to encourage the sharing of on this project: Maria McBride, Gillian
coming together of different communities people’s experiences of the legacy of Hackett, Aideen McDonald and Kate
in mutual understanding and respect. conflict and to promote peace and Harris.
reconciliation with cross-community and
The project was supported by the EU’s cross-border participation. Each drama workshop was two and a half
PEACE III Programme and managed • Ten Anti-Racism and Anti-Sectarianism to three hours long and explored issues
for the Special EU Programmes Body Workshops through Drama with around reconciliation, equality, anti-
by Donegal County Council and part- cross-community and cross-border racism and anti-sectarianism. Exploration
financed by the European Union’s participation. was through active participation in
European Regional Development Fund • Five Equality Workshops through Drama theatre exercises and improvisations
through the EU Programme for Peace and to promote equality and diversity. using the creative, participative and
Reconciliation. experiential processes of drama.
The awareness raising participative The workshops were open to all and
Smashing Times worked in collaboration drama workshops were designed by participants did not need to have any
with a range of organisations including Mary Moynihan with support from and a previous experience of drama. The aim
the Irish Peace Centres, the Mid-Ulster special thanks to a range of organisations was for adults and younger people to
ACTING FOR CHANGE l 3
develop a stronger awareness of the • Thornhill College, Culmore, Co Derry,
issues through a quality arts experience. 14 October 2010 (seven women)
These workshops took place as follows: • The Forge Family Resource Centre,
Pettigo – Meeting and Storytelling
Ten Storytelling Workshops Interview, 22 November 2010
• Inishowen Libraries, Buncrana, 22 (15 men)
September 2010 (10 women – five from • Project Fair, Lifford, Co Donegal,
Inishowen, Co Donegal and five from various Peace III funded groups.
Derry) October 12 2010 (approx 30 people
• Raphoe Community Resource Centre, 4 asked for information).
October 2010, (nine women from both
traditions) professional performance
• Millford over-65s Active Retirement, 27 on Tour – shattering glass
November 2010 (40 participants from
both traditions) An original performance based on
• Loreto Convent, Letterkenny, 21 and 22 memories and experiences of The
March 2011 (four workshops with 70 Troubles in Ireland and Northern Ireland
girls) and developed from an extensive
• Carndonagh Community College, 29 period of research, workshops and
March 2011 (three workshops with 57 interviews. Shattering Glass was written
students) by Gillian Hackett, Mary Moynihan and
Paul Kennedy and directed by Mary
Ten Anti-Racism and Anti-Sectarianism Moynihan. The cast were Aoife Heery,
Workshops Paul Nolan and Adam Traynor. The play
• Donegal Youth Services, Letterkenny, explores memories of living by the Border; of celebration and exploration of the
15 June 2010 (six boys and four girls) the devastation and heartache caused by potential of artistic processes in informing
• Doneyloop Community Centre, 15 June violent conflict during The Troubles and our engagement with social issues such as
2010 (seven boys and 10 girls) how the human spirit moves forward in a anti-racism, anti-sectarianism, equality and
• Youth Reach Letterkenny, 16 September search for ways to forge new paths for the peace building. The seminar took place
2010 (nine young people) future. on Friday,14 January 2011, 9.30am-4.30pm
• Raphoe Community Resource Centre, at the Regional Cultural Centre,
16 September 2010 (three men and four All performances were followed by post- Letterkenny. The aim was to increase
women) show discussions with guest speakers. opportunities for participating groups to
• Carndonagh Community School, 17 The performances took place at the link and develop joint strategies through
September 2010 (eight girls and 10 boys) following venues: workshops, discussions and networking.
• Crana College, Buncrana (13 boys, three The day featured an improvised collage
girls and three teachers) • Balor Arts Centre, Ballybofey – Tuesday, performance on themes of reconciliation
• Scoil Mhuire, Buncrana, 6 October 2010 11 January 2011 at 8.30pm and equality.
(12 boys and eight girls) • Ramelton Town Hall, Ramelton
• Youth Reach Lifford, 11 November 2010 – Wednesday, 12 January 2011 at 8pm The seminar programme was as follows;
(four girls and five boys) • Colgan Community and Resource Centre, • Opening remarks – Cllr. Dessie Larkin,
• Youth Reach Buncrana, 23 September Carndonagh – Thursday, 13 January 2011 Chairperson of the Donegal CDB Peace
2010 (17 boys and 12 girls and three at 8pm and Reconciliation Partnership
teachers) • Regional Cultural Centre, Letterkenny • Speakers ‘Issue-Based Participatory
• Moville Community School, 14 October – Friday, 14 January 2011 at 8pm Theatre: Working Drama Models’ –
2010 (13 girls and four boys) Shattering Glass consisted of three pieces: Freda Manweiler and Mary Moynihan,
Crossings by Paul Kennedy, a monologue Smashing Times Theatre Company
Five Equality Workshops performed by Adam Traynor; Daniel by • Workshop ‘Masks of Four Temperaments’
• Atlantic View CDP, 7 October 2010 (31 Mary Moynihan, a monologue performed – Raymond Keane, Barabbas Theatre
women) by Aoife Heery; and The Glass Wall, a Company
• Deele College, Raphoe, 16 February 2011 three-hander by Gillian Hackett and • Workshop ‘Theatre and Peace Building
(12 girls and seven boys) performed by Adam Traynor, Aoife Heery in an International Context’ – Idan Meir,
• St Columbus, Stranolar, 15 February and Paul Nolan. A performance of the Combatants for Peace, Israel/Palestine
2011 (morning – seven girls and 10 boys; monologue Crossings from Shattering • Workshop ‘Acting for Change, Anti-
afternoon – nine girls and 10 boys) Glass was subsequently delivered in two Sectarianism and Anti-Racism Drama
• Mulroy College, Millford, 10 February schools – Cranna College, Buncrana on 15 Workshop Models’ – Maria McBride,
2011 (12 girls and six boys) February 2011 in the morning and Scoil Smashing Times Theatre Company
Mhuire, Buncrana in the afternoon.
Five Taster Workshops Raymond Keane’s workshop focused
• Youth Democracy Group, 27 July 2010 reconciliation and equality on ‘The Masks of Four Temperaments’
(six men and 11 women) Through Drama seminar which are connected to the four elements
• The Forge Family Resource Centre, and the medieval ‘four humours’. In the
Pettigo Men’s Group, 11 October 2010 This seminar was a cross-community, workshop participants explored these
(12 men from both traditions) cross-border and cross-cultural day extreme approaches to life aiming to
4 l ACTING FOR CHANGE
special Thanks
smashing Times Theatre
company would like to
thank the following
people for their input:
Ferghal O’Boyle, Donegal County
Development Partnership for his support in
developing the project; Raphoe Community
Resource Centre; The Men’s Group, The
Forge Family Resource Centre, Pettigo;
Cross-Border Book Club, Carndonagh and
Bogside, Derry; William Caughey; Carmel
Barron and Ursula Cutliffe, Central Library,
Letterkenny, Co Donegal; the Milford
over-55s Group; Carmel McLoughlin,
Ruth McCabe and Damien McKenna; Lisa
Smashing Times artists: (l-r) Finn from the Balor CDP; and to Susan
Kate Harris, Gillian Hackett, Sian McEwan and Anne McKay from Corrymeela
Thompson, Mary Moynihan, Sinéad Community/Irish Peace Centres.
O’Loughlin and Freda Manweiler.
A special thanks to our panel members for
the post-show discussions: Eamonn Baker,
Towards Understanding and Healing; Jim
increase flexibility and range of physical the Israeli-Palestine conflict in a non-
Arbuckle, Community Relations; and Paddy
and vocal expression. The workshop had violent struggle. As an ex-combatant from
Logue, Irish Peace Centres. A special thanks
an emphasis on learning through fun the Israeli Army Navy Commando, Idan to our actors Aoife Heery, Paul Nolan and
yet was also very moving and proved to refused to serve in the occupied territories Adam Traynor and the production team,
be an ideal forum for exploring sensitive and joined CFP. For the last three years Sinead O’Loughlin, Mannix McPhillips and
issues related to peace building and he is working intensively in the Tel Aviv- Stephen McCullagh and to our director/
writers Mary Moynihan, Gillian Hackett and
reconciliation. Tul Karem group in CFP that specializes
Paul Kennedy.
in the Theatre of the Oppressed method
Raymond is a founding member and for building trust, reconciliation and non-
A number of exercises in this booklet
Artistic Director of Barabbas Theatre violent struggle for ending the occupation are reproduced courtesy of Corrymeela’s
Company. He is a writer, director and and the Israeli-Palestine conflict. Schools Programme. The Corrymeela
performer with numerous theatre, film, Community is a charity recognised by the
radio and television credits. Barabbas ‘Acting for Change – Anti- Sectarianism Inland Revenue, reference number
XN48052A. The Corrymeela Community
makes and produces theatre that is & Anti- Racism Drama Workshop Models’
is a limited company and is registered in
predominantly non-verbal, physical, visual was conducted by Maria McBride of
Northern Ireland under registration number
and visceral. At the core of Barabbas Smashing Times Theatre Company. This
NI006823, head office, 8 Upper Crescent,
is the sensibility of Theatre of Clown workshop was a demonstration of drama Belfast, Co. Antrim BT7 INT, Tel:
with the aim of creating a truly modern games, exercises and improvisations used 028 9050 8080.
sophisticated form that is relevant to its in two of the drama models outlined in
audience of today and its future audience. this booklet – the anti-racism and anti- Corrymeela Community is a member of
the Irish Peace Centres, a consortium of
sectarianism drama workshop models.
peace-building organisations who seek to
Idan Meir from Combatants for Peace,
cultivate and sustain positive relationships
Israel/Palestine, demonstrated in the Maria McBride from Newry, Northern
at a local level across the region and across
workshop ‘Theatre and Peace Building Ireland has been involved with traditional sectarian and new social divides.
in an International Context’ his theatrical Community Development for over 15 It is envisaged that a network of people and
work as an example of using artistic years. She was a Community Teacher for groups will grow out of the consortium,
processes for peace building in an several years and has worked on several which will contribute to a change in
attitudes and behaviours relating to
international context. Based on the cross-border peace programmes. She
sectarianism and racism. The members of the
Israeli-Palestinian conflict experience, also worked for many years in the field
consortium include: Co-operation Ireland;
the workshop examined power relations of domestic violence and has scripted
the Corrymeela Community; the Donegal
between individual and collective and directed a piece of invisible theatre Peace Centre; and the Glencree Centre for
identities in a situation of a conflict for an All-Ireland conference on the Peace and Reconciliation. Irish Peace Centres
through theatre, drama and Rainbow of subject. Maria is currently working in Website: www.irishpeacecentres.org Tel:
Desire techniques. the field of sexual health from a human [phone]-2025.
rights perspective. She has received
Finally a very special thanks to Project
After finishing his Masters in Writing, her professional Drama Training from
Coordinator Freda Manweiler of Smashing
Directing and Dramaturgy, Idan wrote Smashing Times Theatre Company, Dublin
Times Theatre Company, to the project
Basam, a play about Basam Aramin, and has since become a facilitator for the funders and to all those who took part in
founder of Combatants for Peace, an company delivering anti-racism and anti- the workshops.
Israeli-Palestine NGO that strives to end sectarianism workshops.
ACTING FOR CHANGE l 5
inDEPEnDEnT
EVALUATiOn
& programme
successes
The following section is from the independent evaluation:
an independent evaluation was conducted by green hat, a community consultancy
based in maguiresbridge, co. Fermanagh. evaluation activities included direct
feedback from workshop participants and post-show discussions; from seminar
attendees; and from programme supporters susan mcewen, community partners
project Worker and anne mckay, intercommunity interface programme Worker,
both from the corrymeela community/irish peace centres.
The feedback received from described experiences of dissident ‘Enjoyed the workshop, good activities;
participants, facilitators and activity. One teacher noted it was a everyone was involved and felt included.’
supporters of Acting for Change great opportunity for them to talk in
was extremely positive across all of the a neutral space and have a balanced ‘It was great and I would love to do it
programme’s activities (workshops, response to their experiences. A group again.’
performance and seminar). The coordinator noted that teenagers carry
programme was successful in meeting prejudices without even realising it and ‘Today was very good, I enjoyed exploring
its stated aims of helping adults and anything that challenges these is always our thoughts on the Troubles and also
young people develop a stronger positive. Discussions were often open enjoyed the drama.’
awareness of reconciliation, anti-racism, and lively. In one college students were
anti-sectarianism and equality issues commended for being open and giving ‘There is a need for more of this interactive
through a quality arts experience. on the issue of homophobia brought and fun way of identifying and working
up by an openly gay student. through conflict situations.’
Workshops – successes
Particularly within the schools Italics below are examples of There was strong feedback on the
and groups of young people the participants’ feedback: gaining of knowledge and development
opportunity to talk about sectarianism of understanding of complex and difficult
and conflict was very much welcomed. ‘I learned how to express your feelings in issues amongst the participants. They
It was clear young people don’t front of others.’ gained an insight into ‘the other’ – the
otherwise have the opportunity to similarities and differences. Participants
discuss such difficult issues although ‘Great workshop and it was great the way were keen to share their own knowledge
it was apparent that sectarianism the facilitator included all the participants and experience of issues such as
is very current for them and some in the activities.’ dissident activity, Derry/Londonderry,
6 l ACTING FOR CHANGE
Participants at the Reconciliation and Equality through Drama
Seminar, Regional Cultural Centre, Letterkenny, Co Donegal.
mixed marriages, homophobia and ‘I would like to encourage young and old in Co Donegal and people involved
racism, helping each other to deepen people to take part in a workshop like this.’ in paramilitary activities are living in
their knowledge. local communities in Donegal. There
‘Loved every minute of it, would do it again was general discussion on the present
‘I have more awareness of the complexity of any day.’ situation and the need for active work
conflict.’ in terms of overcoming sectarianism.
Facilitators expressed an aim of
‘Enjoyable and gave me the ability to learning and developing personally and ‘Well done for bringing these issues on to
change my attitude and look at the whole professionally through the process of the stage. I came alone tonight, I wanted
picture.’ delivering the workshops and this was to bring some family here tonight but
noted as experienced by each of them. was nervous as we never talk about these
‘I have gotten a greater insight about the There was great confidence felt in the things in this community.’
sectarianism in Ireland and how it affects preparation and design of the workshops
people.’ by Smashing Times. ‘I want to compliment the actors and
company on a fantastic performance.’
‘I learned about people’s rights.’ ‘Good, extraordinary experience.’
The performances in the schools
‘ I have learned more about human rights.’ performances of shattering engaged the young people in
glass – successes discussions about violence and
‘I learned that everyone has their own life The acting was commended across whether it was ever necessary to
story and background and deserves to be the board with one actor in particular use violence to resolve a conflict.
treated equally.’ receiving praise for her sensitive The groups asked questions about
portrayal of a mother’s recollection of the conflict in Northern Ireland and
‘Everyone is different but equal.’ losing her son in a paramilitary bomb were encouraged to find out about
attack. the peace process as this was a
Facilitators noted how much the more positive approach to discover
participants had loved the drama and that ‘The acting was very good and I really information about the conflict in
it gave them permission to act out the felt…what the woman was experiencing, Northern Ireland. Students were
various issues. The opportunity for self- it was very moving.’ interested in the process of acting
expression, self-awareness and bringing and the methods used to develop a
out opinions is very valuable and drama The open discussion element of the performance. The following is a sample
is a fantastic tool for creating space to performances was very well received of feedback from the teachers:
explore sensitive issues. with the audiences contributing freely
both with criticism and commendation. ‘…we felt the show was great and that
‘It was a really fun way to explore a very In reply to the question ‘do you think they will have got something out of it…
serious issue.’ there are still problems in relation to We would really like the performance
the conflict in Northern Ireland?’ a back to run for the transition year when
‘I would definitely want to do another panel member spoke about the fact they come back from work experience
drama workshop again after this brilliant that paramilitary activity is still very as it would link in with what they are
experience.’ much present in Northern Ireland and covering in history.’
ACTING FOR CHANGE l 7
Jenny Robinson and Freda Manweiler at the Reconciliation and Equality through Drama Seminar Idan Meir, Combatants for Peace, Israel/Palestine
‘We felt this was very good for the facilitators, interested members of the ‘Masks workshop was excellent, great tool
students. The post show discussion was public, workers from specific Peace which can be used and applied under my
very balanced and it was great that you funded projects and volunteers working current role.’
focused on attitude. I think this was of with voluntary/community organizations
great benefit for the students and we all from Northern Ireland and the border ‘A wonderful day. I ended up in the wrong
can follow up with discussion during counties. workshop – from the word go I knew it was
the weeks.’ for the right reason. Many thanks.’
Feedback was extremely positive and
Derek West reviewed Shattering Glass in centred on the benefits of learning new ‘I really enjoyed the workshop, see drama as
the Irish Theatre Magazine: models and methodologies and how a great way of dealing with taboo subjects
much this would impact participants’ in a thought-provoking way.’
‘In Daniel by Mary Moynihan…Aoife work and client groups.
Heery’s portrayal of Heather is subtle, ‘Really enjoyed workshops, learnt so much,
sensitive and unremitting…In Crossings… ‘It was a very powerful way to support in particular Raymond’s workshop was
Adam Traynor unpacks the past of Tom, young people, very interactive and safe.’ interesting and informative. A new method
a man whose acts of terror embroiled to me for looking at community issues, even
members of his community and his ‘As a teacher I rarely get to see or use these the visual aspect of the masks. Excellent.’
family…the dominant sense is of almost types of methodologies and I am blown
unbroken darkness…in…The Glass Wall, away by how I feel in this group.’ ‘I was affected on a personal, professional
(devised by Gillian Hackett and cast) a and political level. Thank you.’
pair of lovers (Traynor and Heery) – one ‘I am looking forward to bringing new
from each side of the religious divide – skills back to my job and to bring new ‘This was some day. I am enlightened -
are pursued by the unrelenting demands information back to my colleagues.’ terms like “empowerment” and “create”
of the past. The stage is populated with have a new meaning - we don’t need to
ghosts…and the sledge-hammer beat of ‘Workshops that do more than scratch the predict what the outcomes of our work are;
unwavering rhetoric: “THIS-IS-NOT-OV- surface, engages participants to look deep sometimes it is enough to just do.’
ER” (Paul Nolan, the third cast-member, within and trust the environment/space.’
in a concentrated portrait of bigotry and ‘A good reminder of how Theatre of the
intimidation)…Mary Moynihan’s direction ‘Liberating, emotional, inspiring, Oppressed can be used to help build
is both ascetic and intense: the staging educational.’ communities and bring underlying issues to
is bleak, the lighting spartan; continuity the eye.’
between the pieces is provided by Fabulous seminar, most enlightening, fun
electrifying, throbbing music; the acting is learning.’ ‘Thanks everyone. “The role of the
disciplined and utterly concentrated.’ revolutionary artist is to make non-violent
‘The seminar day’s speakers and revolution irresistible.’
reconciliation and equality facilitators were the best aspect for me.
through Drama seminar Different styles, energy and approach but ‘Many thanks for the opportunity to
– successes equally inspirational. Well done.’ participate in this training. I had attended
Smashing Times were commended for drama training before in the hope of
a professional and creative seminar ‘Excellent drama facilitation.’ gaining skills and most importantly the
which had been very well put together. confidence in using drama methods with
It was attended by youth workers, ‘Great day, I learnt lots!’ young people to explore sectarianism and
teachers, community development ‘Wonderful, wonderful day. Learned a lot reconciliation. Unfortunately after that
workers, voluntary members of boards about seeing things from a different point training I was unsure how to relate it to
of management, actors, freelance of view. Thank you kindly.’ exploring sectarianism and reconciliation
8 l ACTING FOR CHANGE
and was left with a fear of opening a ‘can of
worms’ by discussing the conflict so openly
with young people. However after working
with Maria for a couple of hours I cannot
wait to start using the games and methods
she taught us. I can now understand how to
use these methods to explore conflict and
resolution and Maria has taken away that
fear I had of discussing these issues openly.
So a massive THANK YOU to Smashing
Times and Maria.’

programme challenges
In the drama workshops, situations did
arise where some participants were more
hesitant and did not feel they could
share their experiences. In a couple of
circumstances this was due to the serious
nature of the issues being discussed
but more often, especially amongst the
young people, this seemed to stem from
shyness…or being overpowered by the
more confident members of the group…
the facilitator underlined the importance
of introductory workshops as being an
introduction to the issues and that groups
really benefit from ongoing work.
One facilitator noted the running of
the workshop is a performance in itself,
which can be challenging…facilitators
noted how vital it is to know your stuff,
whether it is cultural diversity or human
rights, whatever the issue it is important
to be knowledgeable and up to date
and to be skilled at facilitating the
workshop activities. Every group will
bring up something new and this can be
challenging.
In the performance, while the company
was commended on portraying
accurately a reflection on past events, The performances in ‘Shattering Glass’ were commended across the board.
more emphasis also needs to be placed
within the play on ways to portray awareness and enabling people to think zone and are supported as they explore
moving the peace process forward. In and speak more freely on difficult issues. new or previously hidden territories.
reply the company agreed that the play, There was a genuine appetite for more The drama allows participants to literally
in addition to focusing on the darkness of amongst the workshop participants, stand in the ‘other’s’ shoes.
past events, also needs to be developed more discussion, more knowledge
further to incorporate more about the and more drama. The opportunity for The programme has also contributed to
future and ways forward, and that more creative expression of emotions and the wider sector – it was acknowledged
time would be needed for this. the ability to see and think from other that the work of Smashing Times reaches
perspectives was invaluable. The positive into new areas that the traditional peace
evaluation Findings impact that this work has on young industry doesn’t touch on. This is because
Acting for Change has been a great people, particularly those who have of the commitment to real theatre skills
success, meeting its stated aims of direct experience of dissident groups and alongside deep dialogue work.
helping adults and young people activities, cannot be underestimated and
develop a stronger awareness of the work should be continued. Smashing Times have created a
reconciliation, anti-racism, anti- It was noted Smashing Times have professional, powerful programme in
sectarianism and equality issues through brought together the best of deep which all three elements – workshops,
a quality arts experience. dialogue work and creative expression performance and seminar – aim to
through drama in a safe yet challenging positively benefit and actively engage
The legacy of the programme can be environment. Participants are young people and adults and those who
seen as lifting taboos and silence, raising encouraged to step out of their comfort work with them.
ACTING FOR CHANGE l 9