{"id":1174,"date":"2022-03-18T09:39:00","date_gmt":"2022-03-18T07:39:00","guid":{"rendered":"https:\/\/support.centreforelites.com\/international-workshops-on-the-tfd\/"},"modified":"2024-03-15T08:01:23","modified_gmt":"2024-03-15T06:01:23","slug":"international-workshops-on-the-tfd","status":"publish","type":"post","link":"https:\/\/support.centreforelites.com\/ru\/international-workshops-on-the-tfd\/","title":{"rendered":"International Workshops on the TFD"},"content":{"rendered":"

\u00a0The growth<\/a> of TFD<\/a> worldwide and in Africa has followed a pattern that began with international workshops followed by a fall out of national organizations and CBOs.<\/span><\/p>\n\n\n\n

The first international workshop that considered arts in development<\/a> was the UNESCO workshop organizedin India in 1972<\/a> on the use of folk media in Development<\/a>. Adult educators attending the workshop were dissatisfied with media packages (Kerr, 1995) and opted for the participatory bottom up approach<\/span><\/p>\n\n\n\n

A second international workshop was Chalimbana workshop held in Zambia in 1979.Though attended predominantly by African delegates, there was representative from U.S.A. After Chalimbana, theatre artists and adult educators in Botswana. Swaziland and Zambia created informal networks that led to exchange of experts.<\/span><\/p>\n\n\n\n

The third Workshop was the Thunder Bay workshop in 1982 held in Canada. This brought together artists from Africa, Canada, the USA. The workshop was galvanized by the slogan ‘We will turn the world bottom up” Out of that meeting rose the International Popular Theatre Newsletter which was edited by Zambia.<\/span><\/p>\n\n\n\n

The fourth international workshop was held in Bangladesh in 1983 out of which emerged the International Popular Theatre Alliance. The Alliance became the umbrella organization for Popular Theatre workers. It was headquartered at the International Council for Adult Education. Other Popular Theatre Alliances such as the Nigeria Popular Theatre Alliance Zimbabwean Popular Theatre Alliance and later Zambia Popular Theatre Alliance bear the same name because of what was agreed upon in Bangladesh. The Alliance continued with production of the newsletter but on rotational basis. The International Theatre institute has not worked to expectation because it has been run on voluntary basis. When formed in 1983 it was attached to the Phillipino Educational Theatre Association and later to ICAE.<\/span><\/p>\n\n\n\n

In August 1983, another international workshop was held at Murewa in Zimbabwe. Africa popular theatre activists and academicians from Eastern, Central, Southern and North Eastern and West Africa attended the Zimbabwe workshop. The workshop gave birth to the Union of African Performing Arts with Headquarters in Cameroon. The union was instrumental in organizing the Kumba workshop in Cameroon the country home for the Secretary General of the Union Dr. Ndumbe Eyoh. <\/span><\/p>\n\n\n\n

The newly formed Nigeria Popular Theatre Alliance in 1989 organized an international workshop held in Benue State.In1990, the international Council Adult Education organized international workshop at Rehoboth in Namibia which brought participants from Africa. <\/span>and theatre skills into local groups and together with local groups they engage communities in the theatre for development<\/a> process. In theatre by <\/i>the people animateurs\/experts from outside train a select group of artists drawn from the community in the process. <\/span><\/p>\n\n\n\n

It is an extension of theatre with the people. The target groups are the organizers, actors and disseminators of information. The role of animateurs is limited to that of trainers. Local groups identify and analyse problems, make and perform plays and conduct discussions under guidance of animateurs. The message is more important than the spectacle. Artists use minimal props and act more or less on empty stages and use their own physical and emotional resources to create spectacles that carry the message. At the end there is some plan for follow up to deal with identified solutions to the problems.<\/span><\/p>\n\n\n\n

Theatre for the people predominated the work of TFD<\/a> practitioners during the 1970s and 1980s. In the 1990s, researchers and practitioners, particularly in colleges and universities, have been searching for TFD<\/a> that should be controlled and’owned by target groups.<\/span><\/p>\n\n\n\n

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