The use of folk media: a contradictory discourse
The use of folk media: a contradictory discourse
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民间媒体的使用：矛盾的话语
DOI：
10.1080/13569783.2016.1220248
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发表时间：
2016
期刊：
影响因子：
--
通讯作者：
Sharifa Abdulla
中科院分区：
文献类型：
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作者：
Sharifa Abdulla
这可能包括击鼓、歌曲、舞蹈、村里人、民间故事、谚语、谜语和仪式，如入会、葬礼和婚礼。近年来，由于教科文组织所称的“发展的文化层面”的普及，民间媒体在应用剧场干预中的使用已变得普遍。全球机构已经承认，制定新的倡议需要从审查参与这些倡议的人的当地现实结构开始。未能解决这种文化特殊性往往导致发展倡议的失败(埃斯科瓦尔，1995年)，因此出现了一种主张以人民的文化经验为基础的发展替代方案的论调。这也导致社区作为重要的合作伙伴参与发展工作。民间媒体在应用戏剧实践中的使用承认文化是发展的财富，同时也体现为以人为本的做法。采用土著和地方沟通渠道的前提是，利用人们熟悉的东西，以社区可以接受的方式进行沟通，提高社区的参与度、执行力和倡议的主人翁意识，进而提高影响力和可持续性。然而，在实践中使用民间媒体的特点是相互矛盾，破坏了许多善意的倡议。正如Kennedy Chinyowa评论的那样，社区经常“被引导参加研讨会，使用已经为他们计划好的‘民间’歌曲、舞蹈、诗歌和故事”(2009，4)。此外，卡姆朗埃拉认为，“过于强调民间媒体作为一种交流渠道，而忽视了对这些媒体运作环境的理解”(Stichele 2000引用)。利用受Freire影响的批判性视角，我将借鉴我在2011年共同设计和共同推动的项目Make Art/Stop AIDS马拉维的两个实例，探索民间媒体在剧院促进发展中的使用。弗莱雷主张采取对话的办法，这就需要调解人和被促进者之间的对话(2005)。他断言，如果教育者要在人性化的过程中帮助他人，他们就必须与他人合作(Freire 1971)。正如Darder解释的那样，Freire的方法旨在改变社会
This may include beating drums, songs, dances, village criers, folk tales, proverbs, riddles and ceremonies such as initiations, funerals and weddings. The use of folk media in applied theatre interventions has become prevalent in recent years owing mainly to the popularisation of what UNESCO refers to as ‘the cultural dimension of development’. Global agencies have accepted that the development of new initiatives needs to begin by examining local constructions of reality of the people who engage with those initiatives. Failure to address such cultural specificities has often led to the failure of development initiatives (Escobar 1995), and so a discourse that argues for development alternatives grounded in the people’s cultural experience has emerged. This has also led to the inclusion of communities as vital partners in development work. The use of folk media in applied theatre practice acknowledges culture as an asset to development while also manifesting itself as a people-centred approach. The adoption of indigenous and local channels of communication is founded on the premise that using what is familiar to the people, and communicating in ways that are acceptable by the community improves community participation, agency and ownership of initiatives, which in turn increases impact and sustainability. However, the use of folk media in practice has been characterised by contradictions that have undermined many well-intended initiatives. As Kennedy Chinyowa comments, communities are often ‘led into participating in workshops using ‘folk’ songs, dances, poems and stories that have already been planned for them’ (2009, 4). In addition, Kamlongera argues that ‘too much emphasis is placed on folk media as a channel for communication at the expense of understanding the context in which these media operate’ (cited by Stichele 2000). Using a critical lens influenced by Freire, I will explore the use of folk media in Theatre for Development by drawing on two instances fromMake Art/Stop AIDS Malawi, a project I co-designed and co-facilitated in 2011. Freire argues for a dialogical approach which necessitates dialogue between the facilitator and the facilitated (2005). He asserts that if educators are to help others in the process of humanisation, they have to do so in partnership with them (Freire 1971). As Darder explains, Freire’s approach aims to transform social