Popular Theatre and Non-Formal Education in Botswana: A Critique of Pseudo-Participatory Popular Education. Working Paper No. 5 (Revised).

Autor/inn/en	Kidd, Ross; Byram, Martin
Institution	Participatory Research Group, Toronto (Ontario).
Titel	Popular Theatre and Non-Formal Education in Botswana: A Critique of Pseudo-Participatory Popular Education. Working Paper No. 5 (Revised).
Quelle	(1982), (40 Seiten)Verfügbarkeit
Sprache	englisch
Dokumenttyp	gedruckt; Monographie
Schlagwörter	Stellungnahme; Adoption (Ideas); Case Studies; Change Strategies; Cultural Activities; Developing Nations; Foreign Countries; Nonformal Education; Political Power; Political Socialization; Popular Culture; Popular Education; Program Descriptions; Social Action; Social Status; Theater Arts; Botswana + Suchen Sie Ihr Suchwort? Ideas; Ideenfindung; Case study; Fallstudie; Case Study; Lösungsstrategie; Cultural activity; Kulturelle Aktivität; Developing country; Developing countries; Entwicklungsland; Ausland; Non-formal education; Non formal education; Nichtformale Bildung; Politische Macht; Politische Sozialisation; Popkultur; Befreiungspädagogik; Soziales Handeln; Sozialer Status; Theaterwissenschaft
Abstract	Designed to show that highly participatory, engaging, entertaining, and locally understandable communication forms can be used not only to liberate but also to domesticate, this paper presents case studies of several nonformal education projects in Botswana that attempted to follow the approach of Paulo Freire by using popular theatre to encourage participation, raise issues, foster discussion, and promote collective action. Topics include "Laedza Batanani," the first experiment using theater for nonformal education in Botswana; popular theatre and resettlement education; popular theater and Freirian literacy work; and participatory research, puppetry, and appropriate technology. A systematic analysis of the issues involved clarifies earlier writing on the subject which failed to portray some of the key contradictions in this work and tended to mystify the popular base of this activity. Focus is on the pseudo-participatory nature of the program; the involvement of the villagers as actors, audience, and discussion members without allowing popular control over the process; and the direction of change. The dual potential of popular theatre is clarified--i.e., its capacity for authentic popular expression and raising critical class consciousness, and/or for disseminating dominant class ideas and inducing acceptance of the status quo. Fourteen references are listed. (LMM)
Erfasst von	ERIC (Education Resources Information Center), Washington, DC