Gaps, Complicities, and Connections: Stories from a Movement Towards Racial Justice in Higher Education by Nisha Sajnani and Amanda Wager

Nisha Sajnani
Amanda Wager

In Playback Theatre we refer to “the red thread,” the connection that can emerge between spontaneously told stories–not simply a theme, but a kind of dialogue between the stories themselves. We are seeing a red thread emerge in this blog, a conversation about Playback Theatre’s capacities and responsibilities in relation to participation, inclusiveness, and social justice. This new article from Nisha Sajnani and Amanda Wager continues the red thread, looking at a sequence of performances exploring racial justice on an American university campus.

Nisha is the incoming Director of the Drama Therapy program at New York University and the principal editor of Drama Therapy Review. Amanda is an educator, researcher, and an Assistant Professor at Lesley University. See full bios following the article. 

Gaps, Complicities, and Connections: Stories from a Movement Towards Racial Justice in Higher Education

by Nisha Sajnani and Amanda Wager

Social movements for racial justice have regained momentum on college campuses across the U.S and Canada over the last three years, including at Lesley University in New England where we have both taught. Eighty-one lists of demands created by student groups call for greater accountability on the part of university administration and faculty to recruit and retain students and faculty of color, develop and use curricular materials that do not reify White, middle-class realities as the norm, allocate money, space, and human resources to acknowledge the health and social impacts of racism and better support the wellbeing of students of color, and to provide continuing education on racism and intersecting oppressions as it affects everyone implicated in university life.[i] 

Continue reading “Gaps, Complicities, and Connections: Stories from a Movement Towards Racial Justice in Higher Education by Nisha Sajnani and Amanda Wager”

Playback Theatre and Social Change: Functions, Principles and Practices by Ben Rivers and Jiwon Chung

Ben Rivers
Jiwon Chung

Based on the authors’ extensive experience in the US, India, and the Middle East, this concise article proposes a set of well-reasoned principles and guidelines that support the effective, ethical use of Playback Theatre for social change. Ben Rivers is Co-Director of the Arab School of Playback Theatre in Lebanon. Jiwon Chung is a practitioner of Playback Theatre and Theatre of the Oppressed in Berkeley, California. (See full bios following the article.)

Russian translation by Irina Krustaleva

Playback Theatre and Social Change: Functions, principles and Practices

by Ben Rivers and Jiwon Chung

April 2017

Playback Theatre can contribute towards social justice by giving a human face to the issues and demands that define a movement. The enactment of personal stories brings out the truth, dignity and detail of a cause, re-grounding political struggle within our shared humanity.

In this article, we will propose several functions that Playback can serve within social movements. We will also look at some guiding principles and techniques that can support our work as Playback activists.

Functions of Playback

Through Playback Theatre, silenced voices and counter-testimonies are heard and amplified. This helps to raise awareness about the realities of injustice and oppression.

At the same time, oppressed populations are able to define their own sense of self through accounts that celebrate the richness, complexity, and dignity of their lives. This in turn helps to challenge the stereotypes and other forms of misrepresentation that frequently define mainstream discourse. Continue reading “Playback Theatre and Social Change: Functions, Principles and Practices by Ben Rivers and Jiwon Chung”

Garland of Flowers by Jonathan Fox

“Garland of Flowers” is Jonathan Fox’s recent account of working with a Playback project in Nepal, a country where he spent two formative years as a young man (referred to in his memoir Beyond Theatre.) Returning to Nepal in 2016 brought new understanding of how his long-ago experience there contributed in important ways to the formation of Playback Theatre.

Jonathan is the founder of Playback Theatre, the author of Acts of Service: Spontaneity, Commitment, Tradition in the Nonscripted Theatre, and the founder of the Centre for Playback Theatre, an international training organization. He holds a PhD (Honoris Causa) from the University of Kassel, Germany. 

Garland of flowers

By Jonathan Fox

February 2016: Exhausted after the 24-hour journey from New York, having survived the sudden storm as we approached the Kathmandu Valley, then finally disembarking into the gloom of an airport that had lost electricity, I staggered around in the darkness looking (in vain) for my suitcase, eventually wandering out into a shadowy hall to be met by a handful of beaming strangers bearing prayer scarves. Later, finally settled in a hotel room (with backup generator), I shocked myself by catching sight of my bleeding forehead in the bathroom mirror—when and how had I sustained this injury?—finally realizing that the red was not blood, but dye from a ceremonial welcome tika that I did not remember.

I awoke the next morning to sunlight and views of a bright colored stupa and rooftops with flowers. At breakfast when asked, “Coffee or tea, sir?” I answered proudly in Nepali. But when I tried to tell the waiter how I knew Nepal 48 years ago, my words failed. I sighed and said in English: “Peace Corps Volunteer.” Continue reading “Garland of Flowers by Jonathan Fox”