Tag: Development Studies,Theatre for Development

The origin of Theatre for Development can be traced back in the late 1970s as a social movement that disseminated information on issues of development at the grassroots level in the developing world. It was an offshoot of thetravelling theatre movement but nurtured by the adult education movement.

Chikwakwa travelling theatre in Zambia and the Laedza Batanani theatre in Botswana Zambia are considered precursors of theatre for development, Through international workshops that brought together proponents of the movement, use of TFD spread to Tanzania, Kenya, Sierra Leone, Malawi, Nigeria, Zimbabwe and Cameroons and was linked to other regions of the world. The International Council for Adult Education which housed it as a project promoted its international growth. Ross Kidd who worked for the Council and many other colleagues were instrumental for its global linkages.

The Actual origin of Theatre for Development

Over the years, TFD has been incorporated into extension work of NGOs, development agencies, international donors and ministries of agriculture, health, and community development and embraces participatory learning approaches (PLAs) that have been popularised by Robert Chambers and is buttressed by the Freirian theory of conscientization which has inspired other participatory approaches to human development that include: participatory research (PR) and visualization in participatory programmes (VIPP) and PLA.

In more recent times,TFD has successfully been used topromote girls’ education in Tanzania, Zambia, Malawi (Mwansa & Bergman, 2003). One project considered most democratic in application and appropriation is Tuseme project of Tanzania. The Tuseme groups assiduously follow an intensive workshop approach which has resulted into change of attitude towards sending girls to school

The use of theatre to fight the spread ofHIV/AIDS is quite extensive inEastern and Southern Africa where FIN and AIDs threatens to decimate whole populations. For example, in Uganda, a country considered to bea modelof success, the government and a non-governmental organization the Aids Support Organization (TASO) used TFD as a tool for behaviour change. established seven theatre companies made up of people 25 people living with AIDS per group which gave hope to the affected and infected as they saw people infected perform and talk about their lives. The general effect in Uganda was reduction of the rate of infection from 30% in 1994 to 6% in 2004.

In Zambia, TFD against AIDs was first used at the University of Zambia under the project Artists against AIDs which was sponsored by SIDA and lasted four years. The project took theatre to communities. Between 2003 and 2004 the Zambian Defence Units used TFD to break down stigma. Through its two theatre companies reached 6,000 soldiers and their families in 42 camps and bases.

The Chikwakwa Theatre came into being in the 1960s gave rise to new theatre groups. The leaders of Chikwakwa Theatre were with a strong feeling and conviction that western theatre in the Zambian society was divided along racial lines and that there would not emerge anything of value If Western theatre remained unchallenged.

The origins of Chikwakwa Theatre can be traced to the creation of the University of Zambia Dramatic Society (UNZADRAMS) at the University of Zambia. Formed in 1969, UNZADRAMS was primarily an association for students and lecturers at the university. Though conceived by students and lecturers of the English Drama course in the University, UNZADRAMS had among its members,students who were not part of the drama course. UNZADRAMS had no national following as such but concentrated on production of plays which had a local appeal as stated by Hudwell Mwachalimba the first chairperson for UNZADRAMS:

UNZADRAMS has as its guiding philosophy a deliberate program to the promotion of theatre arts among Zambians. This we are doing by presenting such plays and sketches in which Zambian audiences can recognise their own ethos – the basis of theatrical appreciation. Emphasis is therefore being placed on locally written plays or those adapted to local situations.

Most of the productions of UNZADRAMS were done for a university audience. Due to lack of a university theatre, the students and lecturers, in 1969 set out to construct an open air theatre in the Chamba valley some seven kilometres from the university campus. The construction of the open air theatre was done through work parties the name Chikwakwameaning slasher symbolises ‘the way grass that formed the enclosure, was cut for construction of the theatre.

It also denotes the sense of co-operation and self-help that characterized the process of construction. Chikwakwa theatre became a hive of a good number of productions that included Kasoma’sThe Long Arms of the Law(1966), Fear ofthe Unknown, Houseboy (1969), Che Guevara (1970), Prodigal SonandKazembe and the Portuguese(1971).

Michael Ertherton (1971), a lecturer at UNZA, who has been credited with being the brain-child of the Chikwakwa Theatre, in 1971 articulated his concept of a travelling theatre which became the guiding philosophy for the Chikwakwa Travelling Theatre:

In Zambia, the leaders of the people have sought to sweep away the white establishment culture; one hopes that they have the insight to carry their cultural revolution through to the masses. For our part we in the university looked up to the clear skies and the rich manifestation of songs and felt that it was too great a heritage to lose to the technocrats and black bourgeoisie and we set about developing theatre on this basis.

Chikwakwa Theatre therefore is more than an open air theatre building in the bush near Lusaka: It is a commitment to the development of theatre in Zambia from exiting cultural roots as they are manifested in the performing arts and in ritual. The traditional performing arts were for all the people and Chikwakwa Theatre must be concerned with the concept of popular theatre.

The theatre cannot develop solely for the better placed in society, In the intervening years between 1966 and 1971 Chikwakwa Theatre and its forunner UNZADRAMS participated in the TAZ festival but the members realised that it was not feasible to get any award or win recognition in a theatre association that was dominated by an enclave group which was bent on preservation of its own notion of cultural superiority.

The tensions that had characterised KDS in 1963 concerning affiliation to TAZ, loomed high in 1971 when UNZADRAMS entered for the TAZ festival a playFools Marry(by Kabwe Kasoma). A serious confrontation, with the British adjudicator ensued because the adjudicator failed to understand the cultural content of the play. UNZADRAMS broke away from TAZ and Chikwakwa Theatre became the external wing of UNZADRAMS that promoted theatre outside the University through provincial tours and training workshops and manifestation of new works written by students and the lecturers at the university.

Popular theatre began in Botswana in 1974 with a programme that was called ‘Laedza Batanani’. The idea came from Ross Kidd, an expatriate adult educator working for the University in the northern part of the country (the Bokalaka). The origins are described by him in the first publication on popular theatre in Botswana.

Laedza Batanani developed out of a concern to deal with the problems in the Bokalaka of limited community effort, low participation in public meetings, and apathy or indifference to government extension programmes. There was a desire to make a fresh attempt to involve people in their own development, to substitute self-reliance, participation. and co-operative action for over-dependence on government and excessive individualism.

Goals of the Popular Theatre

The twin goals of participation and self-reliance called for a way of bringing people together to discuss their problems, agree on changes that need to be made and then take collective action. This goal of people meeting and working together is summarised in the slogan ‘Laedza Batanani’: ‘The sun is already up.

It’s time to come and work together. A forum for this sort of activity has traditionally been provided by the `kgotla‘. What was a way of breaking through the indifference towards kgotla meetings, helping to revive this forum as a major focus for community decision making and action? It was felt that traditional methods used by extension workers were inappropriate for this task.

Extension workers are more concerned with providing services (e.g. health care, dehorning cattle) and information than with motivating people for active participation in their development. Their messages are often based on external prescriptions rather than a local assessment of local needs and demands. Their messages and workers seldom coordinated- each officer works in isolation preaching the narrow message of his own department.

Participation in the Theatre

Few participate in their programme. For example, the agricultural and health clientele are largely restricted to Master and Pupil Farmers and those who attend the clinic. Faced with these problems, Ross Kidd decided to experiment with an adult education method that would use theatre and small group discussion method that would develop a joint inter-agency approach to extension work. The idea of using folk media came from a UNESCO/IPPF conference in 1972 which had advocated the use of folk media in family planning communication programmes.

Popular theatre arose as an attempt to overcome specific problems in Botswana that were making adult education development policies ineffective. The thinking behind the experiment was shaped by the ideas on education and development that were current in the mid-1970s, particularly those expressed in the writings of Friere and Nyerere Some of the intellectual origins of popular theatre are therefore the same as those ofparticipatory research.

For this reason, there are significant parallels between participatory research and popular theatre. However, popular theatre is not a research approach. It has evolved in the search for a more effective adult education method and therefore lies within the broad tradition for adult education, which is a different historical tradition to that of social research.

Qualitative research has many branches. The reason for the so many branches that make up qualitative research is that researchers have different ways of capturing the complexity of human behaviour and depth of perception of phenomena. There are also reasons which are conditioned by the theory of knowledge that the researchers have that seem to centre on the level of involvement of the researched. In QR there are procedures that aim at involving the researched completely. This view point informs such branches as action research and participatory research.

Action research

Thisbasically evolves from the researched – they have a need to carry out research to solve an immediate problem. The role of the researcher is to enable them to realise this goal. The researcher is part of the group and his/her role is to facilitate the process by asking some questions which make the people themselves do most of the things.

Rapid Rural assessment

Thisis a way of investigating a problem in the shortest possible time. It is conducted by an interdisciplinary team employing mainly interviews. It is a survey technique that employs human instruments instead of questionnaires. RA arose out of the frustration with some social science methods that are too lengthy though rigorous or too brief and lacking in accuracy. The emphasis is on cost effectiveness especially at the beginning of a research project.

Participatory Research

Participatory research combines research, education and action. The role of the researcher in this case is first to become the focal point that enables the participants to translate the unarticulated problems into needs, to provide education in such areas as techniques for data collection and analysis and to enable participants to plan and implement the results of the research.

Phenomenological research

The researcher has greater control over the research process. He/she observes and records phenomena as they occur or affect the participants in the research, and interprets the findings using his or her own judgement. There is clear element of expertism in phenomenological research though the biography of the researcher needs to be known so that the interpretation can be judged against the assumptions the researcher had at the beginning.

Ethnography

is a form of qualitative research carried out singularly and sometimes over a long period of time. It employs such techniques as observation and interviews. The researcher stays on one site, talks to the participants and some times takes part in activities e.g. teaching in a school, but primarily he/she is a keen observer of what is going on.

Biographical Research

Biographical researchis a form of self-study. The participant is asked to write about his/herself. What he/she writes is prompted by questions prepared by the researcher. Mwanakatwe used one long autobiographical account by Mwamba Luchembe (Mwanakatwe, 1993). In it, this ex-soldier who ruffled Kenneth Kaunda by announcing a short-lived coup attempt recounted his own life from school to the army and to the day when he announced the coup de tat. A biography written on the basis of an interview is called a semi biography.

Case studies

Case Studiesare studies of single sites or persons in depth for the purpose learning about one site or person. A case study takes a long time.

In Zambia, the theatre workers found the Botswana Theatre for Development ideas very attractive. The Chalimbana Popular Theatre Workshop was held at Chalimbana Training Centre, about 40 km east of Lusaka in August, 1979. In fact, there had already been examples of plays in Zambia before 1987 which used a didactic technique to highlight social problems. For example, the Lusaka Housing Unit used drama in the mid-1970s for demonstration of techniques of building low-cost houses in the ‘site and service’ schemes. One such play, Chawama! Chawama!mixed drama with slide shows (with electricity run from a grocery or bar) and songs from a popular township group called the Buntungwa Stars Band.

In order to provide financial aid to the workshop and to provide an organization which could plan and administer it, an International Theatre Institute (ITI) Centre was set up in Zambia. The centre managed toraise funds, mainly from theGulbenkain Foundationand CUSO for the considerable expense of the regional workshop. International resource persons came from Botswana, Tanzania, Lesotho, Canada and USA.

There was also a strong resource contingent of workers or extension officers from different agencies in Zambia. The regional workshop was held at Chalimbana Training Centre, about 40 km east of Lusaka in August, 1979. It followed closely the Botswana format of research in villages, problem analysis, play creation (at the centre), performance in villages, discussion with villagers, and evaluation and planning for follow-up activities.

One crucial difference between the Zambia regional workshop and the Botswana national workshop was that. despite the attempts at participatory research, there was a larger gap between the workshop participants and the villagers. Partly this was a result of not having so many non-Zambians in the research and performance teams. Probably even more significant was the language question, which made even many of the Zambians outsiders.

The Popular theatre Venue Background

Chalimbana is located in an area inhabited by one of the less populous ethnic groups in Zambia, the Soli. Althounh many of the Zambian participants could communicate with villagers in Nyanja, which is a lingua franca in Lusaka, very few could speak the local Soli language. In Botswana there is a widely accepted national language, Setswana, which made communication a lot easier at Molepolole, it was significant, for example, ‘that one of the plays at Chalimbana about a literacy class was completely transformed when a talented Soli-speaking primary school teacher joined she cast. There was much closer rapport with the audiences when he was performing.

Another different emphasis at Chalimbana was the greater attention paid to performing skills. Particularly impressive was the way the dance team which contained two very skilled drummers and choreographers, Mapopa Mtonga and Stephen Chifunyise, created a didactic play without dialogue. The performance by the dance group illustrates some of the basic contradictions in the aesthetics of Theatre for Development.

In five movements the play highlighted the theme of poor water supply, which the participatory research revealed to be a major problem. The story dealt with a man suffering from a gastric complaint cause by dirty water. After rejecting a false mercenarysing’anga(spirit medium), the man goes to a clinic from where he is transferred to the main hospital in Lusaka. He returns triumphantly cured; the villagers dig a clean well and celebrate.

The plot sounds crude, but the play actually had a considerable impact both on the audience and the other participants at the workshop. Each movement of the play was associated with a dominating dance motif; these ranged from LoziSiyombokadance, TongaChingande,TumbukaFwembeto West African Highlife and Afro-rock; the whole was choreographed to produce a unified ballet performed in the round near the primary school at Chilyabele village.

Such polished performances were different from most of theLaedza Batanamisketches where the resource persons often had skills in social mobilization rather than in performing arts. The different emphasis led to a debate about the role of aesthetics in Botswana there was a tendency to avoid a display of intimidatingly sophisticated theatre skills.

The idea was that a simple set of skills which were nevertheless close to indigenous performing traditions could be an appropriate communication and conscientization tool for villagers to adopt. Doubts existed, however, whether such a ‘rough’ theatre might not in fact be a euphemism for a second-rate theatre, especially bearing in mind that the pre-colonial traditions theatre were certainly not ‘rough’ in the sense of de-emphasizing skills.

Performance of a play like the untitled water-borne disease mime described above at Chalimbana was meant partially as a giving back pre-colonial performance arts to the people. Unfortunately, in the context of a two-week workshop like that of Chalimbana there was practically no time for the villagers to genuinely participate in and learn (or relearn) such performing skills. This meant the villagers were dazzled with the spectacular performance with little impact on their cultural life once the workshop was over.

Thelack of follow-up applied not only to the cultural/aesthetic impact of the Chalimbana workshop addressed itself. After the dust had settled down from the last performances the people around Chalimbana were still plagued by illiteracy, poor roads, inadequate water supply and lack of health facilities. In the absence of a dynamic group within the community mobilizing for development, halfhearted schemes which the organizing committee made for follow up programmes were doomed to failure.

Introduction

The term process carries the meaning of a series of actions, tasks or steps that are taken to achieve something. Intheatre for developmentthat something is increasing participation of the people that animateurs work with so that they can make a change in their lives. The change that takes place in the lives of the target group is what becomes education.

1. Overview of the Process

The process of TfD involves to varying degrees, seven steps. Though they look like steps following a straight line, theyare interlinked back to information gathering.

2. Issue identification

This requires being close to the target group. Issues are various constraints or challenges that the target group faces. The biggest challenge of our time is HIV/AIDS. It is a disease that is taking away human life. It persists despite threatening to wipe away whole populations It is the main concern of every person in the world today. Issues come out of a discussion with leaders, observation and listening to local people.

3. Information gathering

The focus of TDF in relation is on behaviour change in communities. The concept of community carries the meaning of people living together and sharing common values. In order to know what behaviours, practices and values that have contributed to the spread of HIV/AIDS, you need to have a broad picture that should include i) recent History in relation to HIV/AIDS ii) Behaviours, Practices and values that contribute to the spread of HIV/AIDS iii) the impact of HIV/AIDS at the household level.

All these aspects of the broader picture become clear when you embark on information gathering. To gather information, you can use research tools. The tools for researchers include questionnaires, interviews etc. The research tools you are going to learn more about are those embodied in participatory learning approaches and interviews. The PLA tools are much easier to understand and apply. Though they look simple, they are scientific tools in their approach because they help the researcher to collect information in a systematic way. You should begin gathering information within the group and later move into the community.

4. Behaviour Change

In development work, you are concerned with effecting some change in behaviour and attitudes. Without promoting change nothing happens. But change is not easy. It requires patience and skill in dealing with human beings. Kebaabetsare and Norr (2002) have stated that understanding the behaviours that put people at risk of contracting HIV and identifying ways of changing such behaviours is a sure way of stopping the spread of HIV in Africa and other developing countries.

Behaviours to promote

The ABC (Abstinence, being faithful and condom use, are recognized as positive behaviours that can reduce the spread of HIV.

1. a)Abstinence – this involves a delay of sexual experience, especially for adolescents
2. b)Being faithful — sticking to one sexual partner or reducing the number of sexual partners

Condom use: Effective use of condoms. This is more effective among Commercial Sex Workers (CSWs). Sometimes the distribution of condoms to school-going children has aroused opposition. The Minister of Education in Zambia has banned the distribution of condoms in schools

Target Groups for Behaviour Change

There are two approaches in terms of focus on:

1. Epidemiologic Approaches

Targets high risk groups such as CSWs, Injection Drug Users (IDUs), men having sex with men and Lesbians, adolescents, young adults and women, can be cost-effective and efficacious (efficient)

1. b) Holistic Approach

Targets the general population

This could help in reducing stigma because it targets everyone. It can also gain political support because it is popular. One weakness is that it can be costly- the spread of resources rather thinly.

Methods of Changing Behaviour

There are two broad methodological approaches each with specific models to behaviour change:

1. Small/ individual group models: These focus on understanding and explaining were change can take place in individuals and in small groups.
2. Health beliefs model: This identifies four key beliefs or perceptions to behaviour change as:

a)Threat — when people see a threat they can change

b)Efficacy (Self Confidence) and benefits

c)Barriers or negative effects, these have to be identified

d)Cues to action – e.g Mass campaigns

1. Theory of reasoned action model: This identifies the intention in people as the route to change. The intention is influenced by:
2. a)perceived outcomes
3. b)evaluation of outcomes or social norms (especially expectation). Efficiency rehearsal and support
4. c)Increasing self-efficacy through identifying modeling.

iii) integrated social learning model: identifies the following as key to behaviour change.

1. Positive Cost/benefit ratios
2. Strong Intent
3. Necessary skills
4. High self -efficacy (self-confidence)
5. Expected positive emotional response
6. Compatibility of behaviour with self-image
7. Greater perceived social pressure to perform a behaviour than not to perform
8. Fewer environmental constraints to perform a behaviour than not performing
9. The AIDS risk reduction model: there are three basic steps
10. Labeling one’s own behaviour as risky
11. Making a commitment to reducing risk behaviour
12. Taking action to perform the desired change.
13. Trans-theoretical Model identifies four steps:
14. Pre-contemplation
15. contemplation

iii. action

1. maintenance
2. b) Community/ Societal models:

Directed at entire communities and aims at making structural changes.

Different approaches/theories which support this include

1. i)Diffusion of Innovation theory, change is brought about by innovators i.e influential people. This relies on the use of peer educators
2. ii)Mass media campaign

-Use of Video, TV dramas posters and mass rallies

iii) Community Empowerment Approach: also called Community organization, Community mobilization, Action research. Community empowerment approach addresses behaviour broadly and actively involves community members in designing, executing and evaluating the project

iv)Social Marketing: uses commercial methods to promote behaviour change. The marketing of condoms in Zambia through advertisements is an example of social marketing. It involves structural change because it changes social norms and reduces structural barriers

v)Policy or infrastructure changes, these are policy changes that affect structures e.g distribution of condoms to all sex workers

Barriers to Behaviour Change: There are four groups of barriers

1) Economic barriers

• Poverty – leads to sex work
• Migrant work separates families. When away, migrant workers turn to CSW. The spouses who remain behind engage in extra marital sex.
• Prolonged separation due to studies
• Migration i.e due to famine and political conflicts

2) Social and Cultural barriers

• Stigma and denial. Stigma is characterized by:

– fear to discuss the disease
failure to recognize personal risk

– prevention or reluctance to learn or disclose HIV/Status

In Zambia the major problem is stigma. The Zambia millennium goals report singles out stigma, attitude and misconceptions as major health and economic challenges (Republic of Zambia 2003: 24) stigma involves

• Familial concealment (hiding) of HIV status and AIDS-related deaths
• Not discussing sexuality openly except during traditional initiation rites
• Parents not willing to educate children on about HIV transmission
• Rejection of sex education in schools
• Women have limited power to negotiate safer sexual practices due to lack of economic, political power
• Polygamy

3) Organizational barriers

• Competition over resources
• Not evaluating behaviour change interventions to establish comparative advantage

4) Political barriers

• Weak, unstable governments
• Armed conflictand health crises
• Widespread misinformation denial and stigma
• Lack of policies on poverty reduction
• Lack of political will at the high level of state power.

5. Institutions

You are going to identify institutions that support or work with people affected or infected with HIV/AIDS. To be affected is to suffer as a result of another person being a patient of HIV/AIDS. When parents are sick, children are affected. They are deprived of the care they used to receive because the parents are not able to do all those things they used to do such as working to fend for the family.

To be infected is to carry HIV/AIDS in the body. People that are sick are said to be living with HIV/AIDS. Due to the concern that HIV/AIDS has created, nations and the international community have responded by creating institutions large and small, local and international, that give support to the affected and infected.

6. Issue Analysis

You have now collected and analyzed information in different groups. Information you have put on flip charts covers I) recent history using timelines ii) Behaviours, values and attitudes that contribute to spreading of HIV/AIDS using matrices iii) Institutions that support those infected using Venn diagrams and iv) impact of HIV/AlDS at the household level using maps. The use of PLAs instantaneously leads to issue analysis. In the end, you are required to create composite tools to give greater validity to the findings through intergroup PLA agreement.

7. Fieldwork

Now that you have collected information from among yourselves, you will go into the field and collect further information. Fieldwork requires preparation in terms of i) methods of collecting information ii) preparing the people to receive you iii) gaining entree in the community

1. a) Methods of collecting information. You can use PLAs to go and collect information from the community. In fact extension of PLAs to the communities increases group participation. That you are quite skilled to use PLAs, you will look at the use of interviews to collect information. Interviews are suitable for collecting information from individuals. There are three types of interviews: 1) unstructured, semi-structured and structured interview.

Unstructured Interviews

Unstructured Interviews are also referred to as clinical interviews. Questions are not written and interviews arise from conversations. A conversation is a discussion with a purpose. These interviews flow from asking grand tour questions. They would involve asking questions like “how long have you been here’?” ‘Tell me what do you normally do in your life to earn a living”. Questions of this nature are designed to ease the atmosphere and to bring the researcher and the researched closer. There is also a need for the researcher to make a deliberate effort to stop and let the interviewee ask some questions. Unstructured interviews can unlock new and often unintended discoveries.

Semi-Structured Interviews

Semi-structured interviews are interviews that follow preformed questions. At the beginning, you prepare a series of questions to guide the interview. Questions can be asked in a different order as the interview proceeds when you ask the interviewee one question but in answering the first question interviewee answer also question two, in that case, do not repeat question two. Interviews can be recorded or written down. If recorded, it is advisable to use a small tape recorder with an inbuilt microphone.

The recorder can be an obstruction to free and natural conversations for a varying length of time. Awareness of the machine can cause some uneasiness on the part of the interviewee. It is good for the researcher to talk about the recorder. If no explanation is given for the presence of a tape recorder, the interviewee can remain apprehensive about its presence. If an explanation is made and permission sought awareness of its intrusion may not last long.

One way of making a recorder interviewee-friendly is to playback a short part of the conversation that has taken place in the first five also minutes of each interview. A researcher can say something like “let us listen to what we have recorded so far”. Listening can provide the interviewee with extra courage and confidence as well as ease tensions.

Structured Interview

The structured interview in research process is a set of carefully worded questions. The questions are arranged under subheadings of the topic under investigation and are asked of interviewees in the same order. For example, in an investigation on listening to the girl child questions were arranged under the subheadings: aspirations and expectations, family expectations and class interactions.

Introduction

In development, work there is a need to relax the human mind while dealing with issues of development otherwise the processes, the activities which would become boring and just too grave. Among activities interspaced in group, events are warm ups or ice breakers. They are warm ups because they relax the body and mind while participants acting in group events. They are ice breakers because they help open up people to each other. Even though they are coming at the end of the module they should be integrated into all units. In fact, each unit should have a warm up or two.

Warm up 1: Lomukaka Lomanuwa.

This warm up is the same as “follow the leader”. Ask all participants to form a circle and stand facing each other’s backs with you as a leader standing in the middle of the circle. Tell the participants to repeat after you when you say or sing Lomukaka Lomanuwa (twice) and to do what you are going to do. You should do the following:

1. i)Trot slowly going round
2. ii)Trot fast going round

iii) Hold hands on the hips and swing left and right

1. iv)Dance twisting on one spot from a high to a low position.

Activity 1

At the end of the game ask the participants the following questions and let them answer while standing:

1. How do you feel at the end of this game
2. What is the use of this game

Ask participants if they know of any variation of the same type of game and let one volunteer do it while you also participate.

Warm ups 2: Letter

All participants should sit in a circle on chairs facing each other. There should not be an empty chair. As leader you should stand in the middle of the circle and say the following:

lam going to send a letter to people who have something in common. When I mention the common thing that group ofpeopleshould stand and change seats. lam going to occupy a seat belonging to one of them and the person without a chair will come in the middle of the circle.

As a leader can send your letter to any of the following:

1. i)People wearing trousers
2. ii)People wearing black shoes

iii) People wearing spectacles/watches

Activity 2:

After sending the first “letter” (i) you should ask for a volunteer for the remaining two letters”. The volunteers can also choose who to send the “letter” to.

Warm Ups 3:Life Boat.

In this game, you should ask participants to imagine this situation: everyone is in a boat on a big lake like Tanganyika and all of a sudden the boat hits a rock and water starts entering the hull. Somewhere on the coast people bring small boats to rescue the people in the sinking big boat. The boats can only take people in small numbers.

When you call out the number all participants should bunch up in groups of the number called out. Anyone who is not in a group is imagined drowned. The game can go on for 3 minutes. You can call out numbers like 3, 5, 2. At the end of the game, you should ask the group to indicate what they see as the benefits of the game.

Activity 3:

Break up all participants into small groups and let each group prepare a warm up. When you come back let each group lead a short session in presenting the warm ups. Ask the groups to write down the warms up and collect the warm up to create a locally produced small manual of warm up.