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The Report Touch on the Connections Among Cultur, Education, and The DOCUMENT RESUME ED 379 169 SO 023 930 AUTHOR Epskamp, Kees TITLE Learning by Performing Arts: From Indigenous to Endogenous Cultural Development. CESO Paperback No. 16. INSTITUTION Center for the Study of Education in Developing Countries, The Hague (Netherlands). REPORT NO ISBN-90-6443-110-8 PUB DATE 92 NOTE 282p. PUB TYPE Books (010) EDRS PRICE MF01/PC12 Plus Postage. DESCRIPTORS *Developing Nations; *Development Communication; Foreign Countries; Higher Education; * Indigenous Populations; *International Education; *Theater Arts IDENTIFIERS *Zambia ABSTRACT This document explores, from a Dutch perspective, the role of the performing arts in education in developing nations. In particular, the analysis focuses on Zambia. Introductory sections of the report touch on the connections among cultur, education, and performance, as well as the role of avant-garde and popular theater, the theme of alienation, and the anthropology of theater. A historical section addresses the use of theater in development communication, popular theater and social change, the performing arts in African indigenous education, and the historical development of Zambian national theater. A section entitled "Theatre for Development" deals with the performing arts in national development, theater fo, development in India and Bangladesh, and the role of the performing arts in changing women's roles. "Education and Training" is the title of a section that encompasses the formalizing of expressive skills training and implementing the anthropology of theater. A section on policy examines the Dutch role in international performing arts education and research, an international popular theater meeting in Zambia, and the empowerment of development support communication via theater for development. The document also includes notes appendices containing acronyms and definitions. Contains approximately 20 pages of references. (SG) *********************************************************************** Reproductions supplied by EDRS are the best that can be made * from the or;ginal document. ******************************************************************** U $ DEPARTMENT Of EDUCATION Othce of Educstanal Research and Improvement EDUCATIONAL RESOURCES INFORMATION (ERIC) yToil is documenthas been reproduced as eceived from the person or organization originating it O Minor changes have been made lo improve reproduction quality Points of view or opinions stated in this docir meet do not necessarily represent official OERI position or policy "PERMISSION TO REPRODUCE THIS MAT RIAL HAS BEEN GRANTED BY t(c_c TO THE EDUCATIONAL RESOURCES BEST COPY AVAILABLE INFORMATION CENTER (ERIC)" The task of the Centre for the Study of Education in Developing Countries (cEso), as its name implies, is to contribute to the study of the problems involved with education and development in the Third World. CESO also offers consulting services with respect to policy issues, field projects and the evaluation of educational training programmes. A specialized library offers extensive information about education in the Third World. CESO Kortenaerkade 11 P.O. Box 29777 2502 LT DEN HAAG The Netherlands Tel. (070)-4260291 Telegrams NUFFiC Telex 35361 nufic n1 Fax (070)-4260329 © 1992 Centre for the Study of Education in Developing Countries (cEso), The Hague. The author is responsible for the choice and presentation of the facts contained in this document and for the opinions expressed therein, which are not necessarily those of CESO and do not engage the responsibility of the organization. No part of this document may be reproduced in any form without permission from the publisher, except for the quotation of brief passages in criticism. CIP- GEGEVENS KONINKLIJKE BIBLIOTHEEK, DEN HAAG Epskamp, Kees Learning by performing arts: from indigenous to endogenous cultural development/ Kees Epskamp The Hague: Centre for the Study of Education in Developing Countries (cEso).Ill.(cEso paperback; no. 16) Met bibliogr. ISBN 90-6443-110-8 Trefw.: toneel; ontwikkelingslanden I culturele vorming; ontwikkelingslanden. SO CESO PAPERBACK NO.16 Learning by performing arts From indigenous to endogenous cultural development Kees Epskamp .1 fs Foreword CESO is a research institute which is concerned with the study of education in developing countri'.;s, as the name indicates. In addition, CESO performs studies in support of the Netherlands policy in development co-operation with respect to education and training. Because of this the Centre is frequently involved in lending policy advice and monitoring collaborative relations. For a number of years one of the Centre's research themes has been didactic styles existing and operating in developing countries, which have of old determined skill training in non-western cultures. These studies are anthropologi- cal in nature, dealing with indigenous and endogenous didactic processes, in which learning is a creative process of ad-hoc problem solving. Of course solving problems has two sides, an instrumental-technical one and an expressive c ne. Both aspects are dealt with in CESO studies. In relation to performing arts, CESO in 1986 launched an extensive study of the role of development-supporting theatre as an educative medium for adult education in the Third World. Several studies were undertaken for the purpose, after which CESO issued some occasional papers. In 1989 the study was wound up with the publication of a paperback entitled Theatre in search of social change, containing a thorough assessment of the educational value of theatre in the field of adult education. Countless examples featuring in the study were derived from Africa, Asia and Latin America. CESO undertook a second study of the performing arts in 1988, this time an identification study. The aim was to achieve an inventory of the Netherlands expertise with regard to the performing arts outside the Euro-American cultural world. The basic assumption was that such expertise should also exist outside the academic circle of research and higher education, with practitioners of performing arts. Never before had such expertise been extensively mapped out in the Netherlands. This study, partly sponsored by the Netherlands Ministry of Welfare, Public Health and Culture (WVC), yielded two provisional conclusions. In the first place it appeared that more and more young and theoretically trained researchers felt -0- the need for practical training in their subjects, beside their scientific study of non-western performing arts. There is a growing interest in 'learning by doing', among young scholars. The second conclusion of this inventory of the Netherlands expertise potential with respect to non-western performing arts, was that the majority of researchers and artists, students and lecturers tended to undertake a journey to Southern and South-East Asia. This is hardly surprising, in view of the Netherlands historical contacts with Indonesia. The most frequently visited places are Java and Bali, then India, followed by Japan and China. The attention for these areas can he explained by the Netherlands' cultural treaties with these countries. 5 Following the line of this identification study, in 1990 CESO started a third study dealing with performing arts, this time focusing on research into arts and fine arts education in the developing countries at the tertiary level. In this study special attention was paid to the didactics of craft-like training programmes, as for example the apprenticeship system, the pedagogical principle of learning by doing and the workshop methodology. Within this special sector of higher professional training ways were explored in linking up South-South networks and North-South collaboration strategies which fit into the Netherlands educational policy of internationalizing Higher Professional Trdining (HBO) institutes. It is hoped that by publishing this paperback on 'learning by performing arts' a wider acceptance and support will grow for future collaborative activities in this field. In 1984, Kees Epskarnp spent two months in Zambia to make a preliminary study of developments in Zambian performing arts. He combined his research into the literature with interviews with experts present. The study was undertaken in co- operation with the Institute of African Studies (IAS) in Lusaka, in close co- operation with the Department of Performing Arts in Lusaka, and with the Department of Performing Arts connected with the Centre for the Arts of the University of Zambia (UNZA). This document would never have been achieved without the special co- operation of Dr. S.P.C. Moyo, director of the Institute of African Studies (Lusaka), Dr. M.I. Mapoma, director of the Centre for the Arts (UNZA, Lusaka) and Mr. Edgar Nkowane, artistic leader of the National Dance Troupe of Zambia. Without the continuous stimulus and enthusiasm of Kabwe Kasoma, connected with the Centre for the Arts, and Dickson Mwanza, connected with UNZA, this study of Zambian Performing Arts would never have attained this depth. Grateful acknowledgements also have to be made to Stewart Crehan (during 1991 related to the University of Swaziland) for his useful suggestions concerning my notes on Zambian theatre. Grateful acknowledgement is made to the following for permission to reprint materials in this book: 'Curricula, credits and certificates: formalizing expressive skilltrainingin performing arts', which was published in the Journal of Developing Societies, volume VII 1991: p. 238-255; 'Historical outline of the development of Zambian
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