Trauma Sensitive Script Writing Training (for theatre and radio drama)

October 24-28th, 2016

Emerald Hotel, Nairobi Kenya

Hosted by AECOM International’s Viable Support to Transition and Stability (VISTAS) program for the USAID Office of Transition and Conflict Mitigation (OTCM) in South Sudan

for the members of the South Sudan Theatre Organization (SSTO)

Report by Bonface Beti Beti

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Summary:

Theatre has power beyond entertainment. It is a place, an occasion, a reason, for exploring and

defining our inner selves, our pasts, our future, our stories, roles in the multiple societies and

communities we inhabit across geographies and psychologies. In the conflicts that plague our

world today, violence too often insinuates itself into the psyches and spirits, the bodies and souls

of children and adults. The attendant trauma generated are not amenable to processing or

transforming through rational processes alone. They require modes of expression that embrace

paradox, metaphor and images to give voice to thoughts and feelings that defy words. This

training was aimed at equipping members of the South Sudan Theatre Organization (SSTO), who

already have varying degrees of theater skills and experience, with knowledge and skills in script

writing, as well as a trauma sensitive approach to theatre activities. The training sought to

expand their knowledge on trauma, its causes and consequences, its impact on individuals and

communities, possible coping mechanisms, and ways of integrating trauma messages into theater

activities. This specialized course, integrated the use of Village (STAR) trauma-based tool into

the theatrical expressive disciplines of Drama Therapy, Theatre of the Oppressed, and Playback

Theatre towards expanding community dialogues and reflections on trauma as well as looking at

the journey towards recovery and resilience. By the end of the week, participants produced five

major trauma sensitive scripted stories for use in both theatre and radio drama. AECOM

International Development implements these programs through the Viable Support to Transition

and Stability (VISTAS) program for the USAID Office of Transition and Conflict Mitigation

(OTCM) in South Sudan. The VISTAS program goal is to mitigate the further spread of

communal violence and rising tensions in critical areas where conflict may have national

implications. In support of this goal, VISTAS program focuses on activities that increase space

and tools to manage conflict and tensions; build cross-line interdependency to promote peaceful

co-existence; promote more informed community and engage communities in trauma awareness

to lay the foundation for healing and reconciliation. VISTAS engages communities in trauma

awareness through the Morning Star (MS) program, which designs activities that engage

communities in understanding how trauma has perpetuated historical tensions and provides tools

to bridge these divides, paving the way to reconciliation.

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Introduction:

There were 8 participants1 from all over South Sudan and one lead facilitator and a co-facilitator (From Kenya, the lead facilitator is based in Canada but have both worked within South Sudan for a total of 5 years –on trauma healing and peacebuilding through theatre and radio production). Participants were seated in a deliberate circular manner to give an atmosphere of inclusion and ‘sameness’ and shared power. Every day began with participants’ leading opening/closing rituals (mostly through prayer by Muslim/Christian). Participants also managed time together with facilitators as well as sharing theatre games, rituals, dances, cultural music and body movements. Every new day began with a ritual, reflection on the previous day and ended with debriefing session. Throughout the sessions major observations were noted and new lessons were documented.

Day One: 24 th October, 2016

Day 1, began with introductions which, were led by the lead facilitator, establishing group norms and expectations. The day began with defining and understanding key trauma concepts in the Village (STAR) trauma-based model. This tool was explained and explored deeply with participants. An exercise on the importance of a name (as identifier), naming and ‘creating’ anonymity in trauma sensitive scripts was examined through a set of theatre games. The end of day debriefing, reflection and feedback from the participants unearthed the following recognitions, observations and acknowledgements:

Names within their communities can escalate conflict or minimize conflict Names are identifiers and tags (for community, how others perceive you) Names give history: Names carries stories of war, violence, peace, meaning or memory. Naming can be contentious and traumatizing/cause conflict Theatre games provide space for laughter, playfulness and imagination Theatre provides room for fun and safety around sensitive issues such as the “name” Theatre games provide room for making mistakes and correcting The importance of using animal characters in stories, especially when you do not want to

mention names Names has meanings

1 Participants consisted of 2 females (one about 38 years old and the other 17 years) and 6 males (between the ages 20-35). They represented diverse communities in South Sudan as well as symbolizing of the varied cultures and worldviews. They each represented active membership in SSTO or experiences and skills in use of theatre within communities in South Sudan.

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In summary,

1. the participants, to some degree, were able to understand meaning of key trauma concepts and its impact on individuals and communities and;

2. the participants understood that the naming of characters in trauma sensitive script can escalate, or minimize conflict; but most importantly, naming can be used to heal trauma.

Subsequent sessions involved a reflection of the norms and expectations of the group and thoughts about days’ learnings.

Day Two: 25 th October, 2016

This day started at 8am, with group reflections from the previous day. Participants led the morning ritual-prayer. This day, focused on the use of different bodily expression of emotions, feelings, triggers and trauma. The main objective was to show how this can be represented in trauma sensitive script writing and storytelling/narratives for theatre and radio drama. Discussions focused on stories, memory, remembrance, empathy, understanding the plight of trauma survivors, impacts on individuals/communities and importance of not re-traumatizing among other things.End of day participant reflection unearthed the following:

Participants’ experienced different bodily feelings and responses Participants experienced change in breathing and heart rates Participants reported feeling tensions in their muscles and relaxation in different parts of

their body Some expressed a feeling of joy, happiness and laughter To some degree participants “embodied” conflict inside bodies, while playing with

certain feelings there was lowering/raising of voices there were moments of sweating and perspirations participants felt loss of energy conflict may lead to bad feelings it is important that parties involved in a conflict to hear each other acknowledging and or recognizing how you feel in important trauma affects both physical and emotional well-being of parties involved in a conflict negative emotions escalate conflicts, which when countered with positive emotions de-

escalate conflicts. everyone has the potential to express both negative and positive emotions they enjoyed the stories and movements that reflected healing but not conflict and

trauma

In summary,

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1. the participants were able to understand that conflict triggers emotions, both positive and negative; there is trauma related to conflicts;

2. healing or justice can only happen when parties recognize that they each have a role to play in managing conflict and trauma; and it begins with listening, hearing and expressed through feelings.

Day Three: 26 th October, 2016

Day 3, Started journey on trauma sensitive script development, looking at how stories coming

from unhealed trauma affects individuals and impacts communities, relationships leading to

(Acting in/Acting Out and Breaking Out and how blurring of the lines between victims/

perpetrators reinforces the cycles of violence and hinders path towards truth, justice and

forgiveness). Each discussion focused on how groups form different narratives and how this may

affect trauma sensitive script development. At the end of day reflections, participants unearthed

the following:

stories/ narratives bear trauma for individuals and groups that narratives about groups are so entrenched in communities that they are difficult/a

challenge to change; hence developing stories/script for change will be a challenge it is not easy to tell your own story there are dominant narratives e.g. of revenge and “enemy images” narratives and witnessing are closely connected in South Sudan there are challenges in telling stories across varied language-theatre is a

language for all in South Sudan their challenges in women and youth telling their stories; hence

developing trauma sensitive scripts through radio and theatre may aid in including women’s and youth’s views and voices.

in South Sudan literacy levels remain too low therefore theatre and radio will provide the needed space for all voices in the community.

they’re divisions on ownership of narratives hence the need for promoting expanded conversations across communities.

knowing and telling your own story is important voice and body are crucial is telling stories and are places of contestation

In summary,

1. the participants at this stage showed challenges in understanding how to develop a trauma sensitive script that was inclusive because of how stories and narratives were divided among South Sudanese storytellers;

2. facilitators ended with a story building exercise and informed participants to create a trauma sensitive story of their own choice and bring it back to the group in the next session.

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Day Four :27 th October, 2016

Day 4, began further work on trauma sensitive script development with the presentations, reviews and feedback (looking deeply at the conflict, characters, trauma, purpose of the story through the (STAR) trauma-based lens for all assigned stories. While reviewing the stories a final trauma sensitive script was developed by the group looking at scene-making, characterization, dramatization, setting, conflicts, trauma, purpose of the story as well as integration of the STAR themes of restoration and recovery.

The day ended in reflection where participants stated:

that they were excited (laughter and dance) because they completed the first trauma sensitive script that was inclusive

the script was in Arabic were anxious to complete the remaining scripts

In summary,

1. participants had a better understanding of developing a trauma sensitive scripts; 2. and were the drivers of the process (decided who will translate script, and decided how

they would complete the script the following day).

Day Five: 28 th October, 2016

Day 5, focused on the completion of all the trauma sensitive scripts in English and Arabic. The day ended with an overall review of the workshop and script writing processes. The focus for this day was to see how transformation and dialogue towards trauma-healing, restorative justice and resilience in trauma sensitive scripts happens and is depicted in stories. Participants’ reflections are as follows:

were satisfied with workshop but said it was too short (they needed more time). Need for support on the ground – what plans does EACOM have to support and mentor

these artists’ further work inside communities to deliver trauma sensitive theatre plays and radio drama.

Conclusion

Each session creatively applied the power of different theatre-based techniques to support individual or collective transformation through creative storytelling by increasing knowledge and understanding on trauma via acknowledgement, mourning, apology, response and the healing and re-energizing of human dignity.

Participants agreed that in times of destruction and war, artists can assert the power of creativity and counteract the demonization of the enemy in a safe way.

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Participants understood how theatre as metaphor depicts creatively the projection of complex memories through narratives, symbols, images, memorials, commemorations.

Participants noted that in the aftermath of violence, artists and cultural workers can adapt traditional rituals to help communities grieve losses and heal.

Artists can construct physical spaces where the histories and cultures of opposing groups can be validated and shared.

Improvisational theatre(Playback) can help people from communities in conflict develop more nuanced understandings of their own and each other's narratives and move towards resilience and recovery.

Artists can create community works and facilitate processes that foster the capacities required for lasting peace through receptivity, creativity, imagination, compassion, and the ability to embrace paradox.

Artists has ability to bear witness to suffering and drawing individual and community attention to trauma by integrating the STAR based model with transformative power of theatre.

Difference in gender and special categories, disappear as soon as participants embody theatre as an experience, an occasion and vicarious process towards transformation.

Music can create opportunities for wordless collaborations across differences and cultures, this music may be useful in radio drama/theatre as well

Artists in South Sudan must help communities in unpacking the issues surrounding the questions of justice, memory, identity, recovery and future through play safely

Recommendations:

Theatre can be useful in creating new stories and narratives around South Sudan to heal multiple scars of trauma that play into mainstream socio-political agendas and tearing communities apart: Therefore;

i. There’s need for more time to spend in mentoring and supporting artistic community outreach programs in South Sudan. Theatre and radio drama may help transform experiences of pain and great loss on all sides in the conflicts leading to healing of whole communities carrying the all-encompassing impact of trauma in their very anatomies and psyches.

ii. From this training there’s need for nationwide theatre outreach in South Sudan within communities. This outreach should aim to transform the trauma reality and prevent future conflicts rooted in perpetuation of vicious cycles of violence, revenge and victimization. The outreach should work through the Morning STAR trauma healing programs.

iii. The scripts produced during this workshop, offer immense opportunities for further development of learning tools such as documentaries, docu-dramas, TV Spots, street-theatre pieces as well as forum theatre skits for larger community involvement

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throughout South Sudan. This social reality is needed to positively work to prevent “de-traumatization” and move towards a more just, peaceful and stable society.

iv. The theatrical process started by this workshop offers greater spaces for deployment of expressive trauma healing artistic works throughout South Sudan to positively explore the worlds of victims’ trauma as well as the traumatic narratives of groups.

v. There’s no need to establish community listenership clubs for radio and theatre to discuss weekly drama series and form community dialogue groups. Community deliberation and consciousness on all levels is needed to build commonality and critical rethinking on the deeper roots of social trauma as well as sharing the experiences of these phenomena. Use of participatory, psycho and socio- drama and other expressive arts techniques may complement these process towards creating Trauma Informed Community.

vi. The training opened up theatrical energy for further exploring uses of theatre in discussing other social subjects in South Sudan such as gender.

vii. Opportunity for use of participatory video by youth among others as well as use of participatory theatre to mirror community issues/solutions to evaluate/research points of change is possible beyond this training.

viii. Opportunities for working with schools through theatre and radio as well as working with parents remains open.

ix. The use of cultural knowledge/resources such as music, movement, ritual, dance and song is important in this healing work of the arts while integrating psychosocial trauma interventions and peacebuilding

x. Theatre may be critical in creative constructive storytelling as a way of coping and building resilience through the ongoing conflict as well as a way to dream and imagine better future.

xi. Forum, Participatory and Playback theatre, will be crucial in expanding community dialogues, intergroup dialogues as well as working on transforming conflict at grassroots levels across groups.

xii. From the training, the need to train journalists, leaders and society gatekeepers on narratives and using same techniques emerged as being critical in shaping community storytelling and healing trauma and transforming relationships.

xiii. I recommend that EACOM together with SSTO and other stakeholders such as British Council, host a national conference focusing on theatre, the arts and cultural work as shared opportunity for national storytelling and community healing throughout South Sudan.

xiv. We plan to support participants bring together a shared international learning experiences in Rwanda, Burundi and Sarajevo to deeply appreciate the role played by radio drama practitioners in post-conflict settings for healing (we will link together the work of Sawa Shabab, Labene Valencija and Morning star radio drama outreach, into a common national and international knowledge sharing experience).

xv. We recommend the making of a documentary film on the work of uses of theatre and following the work of these artistes for wider learning and sharing.

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xvi. We recommend scale-up and immediate training of more artistic volunteers and cultural workers in use of Playback Theatre, Drama Therapy, Forum Theatre and Improvs in promoting wider trauma healing outreach throughout South Sudan.

NB: The need to facilitate the above, urgently requires immediate efforts to support rapid implementation at community levels of this great work and process began by this important workshop. I recommend pilot implementation of our work at several sites and locations in South Sudan in the next two months to test its efficacy towards scaling this kind of efforts across the entire nation not only to increase trauma awareness and healing but to apply and integrate theatre and transformative arts in other social change arenas in the country. The integration of the Village STAR trauma-based messaging into Trauma Sensitive Script Writing presented a new integrative model for expanding knowledge on trauma awareness at community levels in a creative way.

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