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Description
Theatre – as an art – influences social change and can contribute to improving the situation of marginalised people. Independent theatre makers and educators have repeatedly shown that they have the courage and skills to tackle difficult subjects. Through theatre they challenge social exclusion and discrimination. Many more artists involved in social problems are needed. That is why within our project we will run a course ‘Theatre for social change’ – a cycle of seven training sessions for people dealing with theatre creation and pedagogy. To participate in the course we will invite people with theatre experience, but also ready to engage in activities with people at risk of social exclusion. Participants of the course will receive knowledge and concrete tools to work. They will test their skills by conducting workshops with people at risk of exclusion and organizing a spectacle for the community. Moreover, we will start a podcast ‘Theatre People’ that will promote the idea of theatre as a social art. In this project we want to strengthen the soft competences of marginalized people (especially those exposed to violence) through art, but also strive for social inclusion.
Summary of project results
There are over eight hundred independent theater groups in Poland. These are thousands of artists, educators and activists operating in small towns and in larger cities, looking for their niche in social activities, working with people with disabilities, inmates or people in a homelessness crisis. They represent a huge potential that could work towards social inclusion. However, there are few proposals that can prepare these people for theater work with groups at risk of social exclusion. Neither state art schools nor longer educational projects organized so far prepare them for such challenges.
We addressed the course to people who already had theater experience, but were just starting their path in theater work with people at risk of social exclusion. Based on the analysis of the recipients'' needs, we identified the areas of knowledge and skills that were lacking in miejsco_com. They had tools for theater work, but they lacked knowledge and skills on how to adapt them to work with groups with special needs. They also wanted to learn new tools that would enrich their activities. They lacked knowledge about the methodology of educational processes and had many concerns. The artists also wanted to know how to take care of themselves and prevent burnout in such a difficult job. Independent artists often act intuitively and lack tools for in-depth reflection on the groups and communities they work with. And knowing its needs is the basis for programming effective actions.
During the recruitment process for the "Theatre for Social Change" course, we selected people who already create theater or are involved in theater pedagogy, but have not yet worked with particularly sensitive groups. They had the desire, but were held back by fears, insecurities and competence gaps. As part of our course, these people met with experts who shared their experience of working with various groups at risk of social exclusion. People participating in the course also underwent anti-discrimination training and a series of workshops on designing theater processes, from the diagnosis of needs, through setting goals, to the evaluation of activities.
The participants also tested the acquired skills in practice by organizing their own activities: workshops with groups at risk of exclusion and a demonstration for their communities and close surroundings. Socially engaged theater once again reached young people from the LGBTQ+ community, senior citizens, mothers from Ukraine and refugee children in Poland and the Czech Republic, young people from correctional facilities and people with intellectual and physical disabilities. Graduates of the course are ready for further action. The course ended with a summary session with a part open to the general public, during which the students talked about their projects, especially moments of surprise or doubt that contributed to broadening their horizons and training their skills.
Everyone who did not have the opportunity to take part in the course can still develop in the field of social theater by listening to the podcast "Theatre People": a series of conversations with people involved in theater creation and pedagogy who work with various groups at risk of exclusion. 22 episodes of the podcast were published on the following platforms: Anchor.fm (anchor.fm/ludzie-teatru), Spotify, Apple Podcast, Empik and YouTube. Have a nice reception.
As a result of the training: "the knowledge and skills of the participants in the field of anti-discrimination education and strengthening social competences have improved, as well as their awareness of the needs of particularly sensitive groups. The respondents also point out specific information and skills acquired during the workshops that will help them to create their own projects addressed to groups at risk of exclusion. Respondents indicate very specific competences, information and skills that they acquired during the entire course.
As a result of the practical use of skills module:
When asked how you rate your skills and knowledge after the series of workshops and before implementing your project on a scale from 1 to 5 (1- very poor, 5-very high), 90% rated themselves 4 (they argued that the rating was due to waiting for their practical use). After implementing the project, half of the respondents rated themselves a grade higher, and the other half rated themselves half a grade higher.
PREVENTING VIOLENCE:
Their implementation is evidenced by selected quotes from students'' reports on the implementation of their projects:
- In addition to participating in the project, they also supported each other through conversations, exchange of experiences and motherhood advice, and also came up with the initiative of a swap party (cashless exchange of clothes).
- The primary goal of the project was to strengthen the sense of strength that comes from being a woman. This goal was achieved primarily in the context of increased solidarity between the project participants.
- In my personal opinion, which was triggered by a conversation with people after the performance, their attitudes and tones of voice manifested pride and joy in their own work, as well as a sense of agency in the thought: "I did it. I have everything I need, to create and act.
- My primary goal was to strengthen the self-esteem of group members, which I managed to achieve. This is manifested, among other things, in the texts that participants of my classes write on any selected topics.