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Establishing the conceptual and practical foundations of a new form of Theatre for Development: Theatre in Conversations By Jacqueline Kauli Diploma in Theatre Arts Bachelor of Creative Arts in Theatre Arts MA Arts Administration & Cultural Policy Supervisors Professor Brad Haseman Associate Professor Cheryl Stock Submitted in requirement of the degree of Doctor of Philosophy Creative Industries Faculty, Queensland University of Technology, 2015 Abstract This practice-led research enquiry draws on three established traditions of practice; process drama, community theatre and community conversations to devise a hybrid Theatre for Development model called Theatre in Conversations. Theatre in Conversations is developed to improve Theatre for Development practice in PNG. The study illustrates how the author collaborated with experienced PNG cultural and community theatre practitioners to develop and trial Theatre in Conversations in three villages in Rai Coast District, Madang province. The model uses violence against women as content material to test the robustness of Theatre in Conversations’ design features and how they address some of the shortfalls in Theatre for Development practice in the country. Initial findings from the field indicate that Theatre in Conversations improves local participants’ capacities to effectively interrogate and question harmful social and cultural practices that perpetuate violence against women. This is particularly significant considering scant attention to learning pedagogies and social and cultural structures of power are partly the reason why TfD has limited success. The study also details the skills artist-facilitators need to use in Theatre in Conversations for greatest impact. This study includes two creative outputs: one an account of the experiences of women experiencing domestic violence in PNG while the other details a pragmatic and useable toolkit for TfD and community theatre practitioners. With these tools practical TiC workshops can be run. Findings and outputs from the study have the potential to be used by TfD practitioners in other countries. 2 Statement of Originality This work has not previously been submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the document contains no material previously published or written by another person except where due reference is made. QUT Verified Signature Signed: 25th May 2015 Name: Jacqueline Kauli 3 Acknowledgements My sincere thanks to Prof Brad Haseman –I came with an enthusiasm about an idea that you helped mold and shape into what is presented here. Your provocations and challenges every step of the PhD journey were a trigger to learn more and to say it better. I am especially grateful to you for your gentle guidance in the last few months of my study making me work hard to achieve the best I possibly could even though you sensed on some days that I could not bear to rearrange another para! Thank you. Assoc. Prof Cheryl Stock thank you for your input and Dr. Hayley Linthwaite, for sisterhood, friendship and laughter. Your support and input into my two creative art works gave this dissertation the aesthetic edge it needed. Thank you very much H for the many hours you spent with me on it. Collaborative Artists from the Rai Coast: Selep Luni, Paul Silas, Melchior Peukeng, Lynette Dawo, Usilo Dawo, Rueben Koliam, Tango Aigun, Junior Koni, Yunna Kawaing, Joyce Dawo and Ramon Kura – you held me accountable for my teaching, which in turn made me a conscientious and reflective teacher-artist. Because of your willingness to effect social change you gave me your precious time and creative ingenuity to co-create Theatre in Conversations with me. I sincerely thank you all. Sites of Practice: The District of Rai Coast, in particular the communities of Seure, Mur and Saidor. Funders: QUT for my scholarship and Tingim Laip Project. Filial ties: To Rowina Belepana my oldest and dearest friend, you were there every step of this journey – unwavering – your kindness and abiding friendship are my most precious gift. I have never taken them for granted. Gudie. It was your gentle prodding when I was tired of it all, given during the times you were the busiest, that I hold most dear. Thank you especially for your support in the last few months of write up. Without that space for writing it would have been extremely difficult to complete my dissertation. I continue to be grateful R. To Ralph Belapuna, thankyou for your tremendous support during the two and half months of writing, especially the numerous pickups after 9.00pm from the train station and dragging your kids half asleep with you during that time. Shane Irwin, former colleague and dear friend, you 4 were never afraid to do things differently and showed this by boldly introducing new forms of drama, theatre and applied theatre to rural districts of Papua New Guinea despite voices saying it wouldn’t work. What a wonderful experience learning from you. I especially enjoyed working with you discussing programme in the middle of nowhere under a hurricane lamp drinking many many cups of instant Nescafe Nuigini blend coffee always by an open fire that tried to keep the mosquitoes at bay. Thank you. Nelson Siddy your calming demeanour, wise words, power of observation and innate ability to make everyone around you relate to our work especially in communities that never wanted to hear Tokaut talk about AIDS again, are qualities I continue to admire. I learnt from you more than you know. Thank you. To Elizabeth Reid, for your enduring friendship, guidance and unceasing mentorship. You taught me to really understand the meaning of compassion and to value people not just as numbers but as human beings. My deepening knowledge related to development and women’s issues has been from your influence and are reflected within this exegesis. It continues to be a truly magnificent learning journey. I am grateful E. To Stella Inimgba: had my introduction in to academia been with any other person, I am almost certain it would not have been as personally and intellectually rewarding as it was with you. I can still hear our laughter in the corridors of Uli Beier and in our drive down 5th Street on days when everything seemed to go awry. I continue to feel the warmth of that friendship all these years later. You taught me to find strength and resilience from within and stand firm for things we hold dear. I drew on these strengths for my PhD journey. I am grateful Aunty. God keep you safe. Tony Adah, twenty years ago as my undergraduate lecturer you recognised my potential underneath my tumultuous and untamed undergraduate personality and harnessed, nurtured, supported and guided my strengths every step of the way throughout my life, career, and my pursuit of higher education. Thank you for always being there Tony. Lastly to my parents Joseph and Josephine Kauli, you never hesitated to educate a female and taught me to stand up for what is fair especially in difficult times. A ngala na pite varpa ta mamur parika, ma a Luluai na vadone amur. Pa i telege pi ina bali kamamu valmal ma a bonatunaka iau tul tari tamamur. Pite pa amur. Jacqueline Kauli Brisbane, October 2014 5 Table of Contents Abstract ................................................................................................................................. 2 Statement of Originality .................................................................................................. 3 Acknowledgements ........................................................................................................... 4 Key terms and figures ...................................................................................................... 8 List of Figures ...................................................................................................................... 8 CHAPTER ONE: INTRODUCTION ................................................................................... 9 1.1 SENSE OF THE PROBLEM ................................................................................................... 9 1.1.1 My story: challenges in the field .............................................................................................. 11 1.1.2 The need for a new model of Theatre for Development in PNG .................................. 16 1.2 IDENTIFYING THE RESEARCH QUESTIONS ............................................................... 17 1.2.1 Research Question One ............................................................................................................... 18 1.2.2 Research Question Two: ............................................................................................................. 19 1.3 CONCLUSION ....................................................................................................................... 20 CHAPTER TWO: CONTEXTUAL REVIEW .................................................................. 21 2.1 PAPUA NEW GUINEA CONTEXT .................................................................................... 21 2.2 THEATRE FOR DEVELOPMENT IN PNG ...................................................................... 23 2.3 COMMUNITY THEATRE: .................................................................................................. 25 2.3.1 Community Theatre in Papua New Guinea .......................................................................... 26 2.3.2 Awareness Community Theatre (ACT): An example
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