Drama in HIV/AIDS Prevention: Some Strengths and Weaknesses

This 43-page research report shares findings of a study carried out in April and May 2003 in Botswana, Tanzania, South Africa, Kenya, Ethiopia, and Uganda to explore how theatre and drama has been used as a tool to respond to HIV/AIDS. The research set out to draw conclusions in terms of strengths and weaknesses, and to make recommendations about the integration of drama in development programmes, particularly in reference to programmes funded by the Swedish International Development Agency (Sida).

The paper explains how drama, forum and process theatre, music, dance, poetry, and storytelling are used by organisations all over Africa to address many different issues, including HIV/AIDS. Theatre for development (TFD) is a form of theatre that combines research, entertainment, and education. Two broad approaches to TFD are the performance-based and workshop-based approach. Within each there are variations based on forms or the degree of engagement with the people. The author suggests that where behaviour change has occurred, it is more likely to have been influenced by the highly participatory approach.

The paper argues that although theatre for development is being used by many organisations, it is generally included as supplementary activity only, and lack of follow-up has contributed to the lack of knowledge of impact. It proposes that donors who use TFD interventions only as add-ons in projects have not realised its potential. In cases where TFD has been integrated from the start, it has proved to be a strong instrument for behaviour change and could be better utilised as an instrument of social change.

The study concludes that drama could be an efficient instrument to bring about behaviour change, if guided by skilful facilitators and backed up by an empowering and supportive structure, like a development programme. Documentation on impact of TFD needs to be “translated” and marketed in terms of “what's-in-this-for-us-arguments” to move outside the circles of theatre practitioners and reach a wider audience of development planners. Drama interventions are inexpensive, but facilitators need to be trained in all sectors of societies. Extension agents, teachers, adult educators or communicators can be given supplementary training on HIV/AIDS and drama.

The authors recommend that:

• TFD or drama-discussion methods are integrated into different sector support programmes in countries with different social and cultural backgrounds;
• qualitative studies of the impact of TFD/drama are carried out, identifying best practices that could be replicated;
• an assessment guideline for cultural support is developed at the HIV/AIDS team office in Lusaka;
• an inventory is made on the resource base of institutions and organisations that are involved in drama/TFD, which could provide future facilitators for TFD training or provide organisations for twinning arrangements;
• Sida, in dialogues with Southern Africa Theatre Initiative (SATI) and East Africa Theatre Institute (EATI), emphasises that artistic development should consider HIV/AIDS prevention and theatre as an instrument for social change;
• special attention be paid to empower youth movements against AIDS, for instance by providing students with TFD training as part of life skills;
• Sida continues the support to HIV/AIDS prevention programmes in South Africa; and
• dialogue on the use of drama in development assistance is broadened and continued within Sida and among Sida’s partners in development cooperation.

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