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CONTENTS
Contents
Steering Committee
2
Welcome
3
General Information
4
Information on EE Site Tours
5
Information on EE Social Tours
6
Program and Abstracts
7
Speaker Biographies
52
1
STEERING COMMITEE
WELCOME
Steering Committee
South Africa
Warren Parker (CADRE)
Lynn Dalrymple (DramAidE)
We are pleased to welcome you to the 4th International EE Conference in
Shereen Usdin (Soul City)
Somerset West, South Africa. The Conference brings together practitioners,
researchers and theorists in Entertainment-Education from around the world
International
and provides an opportunity to review developments in the EE field.
Jane Bertrand (Johns Hopkins University)
Martine Bouman (Netherlands Entertainment Education Foundation)
The conference theme, ‘Entertainment-Education: Community and Context’,
Vibert Cambridge (Ohio University)
epitomizes our inter-relationships as members of the global community where
all sectors work together for social development. The people we serve are at
O r g a n i s i n g Te a m
the centre of our work: regardless of whether we aim to provide health
Phillipa Tucker (CADRE)
education, or promote other educational values through various
Mkhonzeni Gumede (DramAidE)
communication genres. Our programs must be responsive to their needs and
Rose Mlungwana (DramAidE)
in ways that respect the diversities of our social, economic and cultural
Maddy Semaar (Soul City)
backgrounds. We acknowledge the need to network with our stakeholders
Katia Da Silva (Soul City)
and our communities to bring forward education and development for social
Anne Palmer (Johns Hopkins University, USA)
Pinky Makhaye (Johns Hopkins University, SA)
change. These values are embodied in the EE Declaration 2000 and will be
further explored in 2004 as we bring our work to the table, share new
experiences and discuss the various issues related to EE practice.
The EE conference also provides an opportunity to visit sites of interest in the
Conference Managers:
Keith Burton and Paul de Waal
Cape Town area. We have included educational tours and visits to tourist
spots in the Wednesday programme.
Fastfunction
We hope that these undertakings help move us forward in our field of practice
Funding and support
while we spend time to appreciate and enjoy the beauty of South Africa and
CADRE, CHANGE, DramAidE,
the warm hospitality of its people.
Johns Hopkins University Center for Communications Programs,
Soul City, USAID
The Steering Committee
2
3
GENERAL INFORMATION
EE SITE TOURS
General Information
EE Site Tours Wednesday, 29 September
Airport Transfers
Internet facilities
Delegates flying in / out of Cape
Town International Airport must
ensure that the conference
organisers have received accurate
flight details (Airline, flight number,
point of origin, date of
arrival/departure, time of
arrival/departure).
A business centre with internet
connectivity is available at the hotel.
Please enquire at reception.
Badges
Each attendee of the conference will
be issued a name badge at
registration. The badge is an official
pass and should be worn at all times
to allow entry into the Conference.
Banking Service
Foreign currency and travellers
cheques can be exchanged at the
airport, the hotel or at banks in
Somerset West or Cape Town. Don’t
attempt to change money in places
other than these.
Contacts
Contact cellular telephone numbers
during the conference are: Warren
Parker (083) 378-4083; Phillipa
Tucker (083) 641-9837, Keith Burton
(083 ) 415-4111 or Lynn Dalrymple
(083) 653-2053. The number for the
Lord Charles is +27-(0)21 855 1040.
Credit Cards
Mastercard, Visa, Diners Card and
American Express will be accepted
at the registration desk for
payments.
Meals
Breakfast is included in the
accommodation packages. Each day
starts with a plenary session at 9h00
and runs through to evening
entertainment which ends at 22h00.
Lunch, Tea & Coffee breaks and
dinner are provided at the venue as
part of your conference fees. A
packed lunch is provided on
Wednesday, but dinner is for your
own account.
Arrangements have been made to cater
for special meal requirements.
Presenters Preview Room
Presenters will have access to two
computers in a separate presenters
room to make minor adjustments to
presentations if necessary.
Powerpoint presentations should be
ready by 5.00pm the day before your
presentation. These can be handed
in at the EE4 conference office on
disk, CD or USB flash.
4
Wednesday, 29 September, is set
aside for field visits as well as visits
to sites of interest in Cape Town. A
packed lunch will be provided, but
dinner is for your own account.
Busses will depart back to the Lord
Charles and B&Bs from a designated
point at the V&A Waterfront hourly
from 17h00 to 22h00 (see overleaf
for additional detail).
Staff
If you have any questions the
members of the Conference
Organising Team, recognized by their
distinctive name tags, will be able to
assist.
A selection of morning site visits - see program - have been arranged to local Entertainment Education Projects.
These are included in the registration fee on a first-come, first-served basis.
For further information on afternoon tours please see the social tours section.
Please note that those delegates wishing to go Whale watching will not be able to attend the EE tours because of
time constraints. Please see the Social Tours section for further information.
Buses will depart from the Lord Charles hotel at 08h30 and take delegates to one of the following:
1. No Monkey Business:
Inside Out; About Us:
Playing for Keeps
The first performance is a puppet
show that deals with issues of
HIV/AIDS and basic hygiene. This
show is targeted for the grades 1-4
or 6-10 year old learners. The
second performance is 30 minutes
long, followed by a 30 minute
facilitated discussion with the
learners. It deals with issues of
HIV/AIDS and issues around selfawareness, esteem and image and
sexuality awareness. This show is
targeted for the grade 5-7 or 11-14
year old learners.
arepp: Theatre for Life with Child
Welfare at Athlone Community Hall
2. AIDS ACT
Registration
Registration starts at 12h00 on
Sunday, 26 September at the Lord
Charles Hotel. Day delegates can
register on the morning of each day.
Delegates will receive a conference
bag, programme and additional
information upon registration.
A half an hour interactive
performance followed by discussion
with university students around
issues of HIV/AIDS.
University of the Western Cape (on
campus)
3. Takalani Sesame Meet &
Greet
Observation of a visit to learners
aged 3-9 meeting Kami and Zuzu
from Takalani Sesame up close and
personal. The characters do not
speak - the handler will interface
with the children on behalf of the
characters.
Takalani Sesame with Children from
the Chris Nissen Informal
Settlement (Holiday Community
Program). Pinksterpark Hall
4. JAPAN
A half an hour forum theatre piece
followed by discussion with the
audience. The play asks questions
about issues of gender, culture and
women's rights.
DramAidE with High School Children
from the Garden Village and
surrounding Community.
5. Discussion forum
Producing Edusoaps as part of
teaching media at the University of
Cape Town.
University of Cape Town.
Display Tables
Tables are available to display
materials related to your work. If you
wish to display materials please advise
at registration.
Site Tours
Scholarship/bursary
recipients
Scholarship/bursary recipients are
being supported for travel and/or
conference registration and
accommodation. No per diems are
provided to scholarship/bursary
recipients, and please note that
dinner on Wednesday night is for
your own account.
After the morning EE tours all
delegates will be transported to the
V&A Waterfront in Cape Town. This
will be the meeting point for the
day. All of the social tours will
depart from the V&A and return to
the V&A. Delegates will be given a
packed lunch to be enjoyed at
leisure.
5
EE SOCIAL TOURS
EE Social Tours
PROGRAM
SUNDAY
Sunday 26 September: Registration and Welcome
A selection of afternoon tours have been arranged in order to provide delegates with the
opportunity of enjoying some of what Cape Town has to offer. These are included in the registration
13h00-18h00
Arrival and registration
18h00-21h00
Welcome Function and Finger Supper Venue: Courtyard / Ballroom
fee and have been booked on pre-registration.
ROBBEN ISLAND – WORLD
HERITAGE SIGHT
A visit to Robben Island, where
former President, Nelson Mandela,
was imprisoned for many years. The
tour takes a ferry to Robben Island
and includes a visit to the prison.
There is also a guided tour of the
facility to include the lime quarries
and other points of interest. The tour
departs from the V&A waterfront at
14h00 and returns at 17h30.
‘FREE AT LAST, FREE AT
LAST’ TOWNSHIP TOUR
A cross cultural, interactive, face-toface township experience. Highlights
include: The Bo-Kaap Cape Malay
Quarters, District Six Museum, The
Chris Hani Literacy School,
Traditional African Doctor, Philani
Weaving Project, Shebeens, and
Craft Markets. The tour departs from
the V&A waterfront at 13h00 and
returns in the late afternoon.
MEET THE MOTHER CITY
‘Orientation Tour’
Orientation tour of the city of Cape
Town. Highlights Include the Castle
of Good Hope, District Six Museum,
Freedom Square (where Mandela
appeared for the first time after
being released from prison), SA
Museum, Company Gardens, St
George’s Cathedral, Greenmarket
Square and Table Mountain (weather
permitting) or Signal Hill. This tour
departs from the V&A waterfront at
13h00 and returns in the late
afternoon.
CAPE WINELANDS ‘Nectar
of the gods tour’
You will tour the wine route and
taste wines at famous wine estates
set against spectacular mountain
backdrops and the finest Cape
6
Dutch architecture. Wine farms
include Spier and Boschendal. This
tour departs from the V&A waterfront
at 13h00 and returns in the late
afternoon.
Welcome
Warren Parker, on behalf of the Steering Committee
CAPE POINT AND
PENINSULA ‘Southern
Spectacular’
A tour of breathtaking beauty,
majestic scenery and spectacular
views! This is the most popular tour
in Cape Town. Highlights: Sea Point,
Clifton beach, Camps Bay, Hout Bay
harbour, boat trip to seal island
(optional extra- for own account),
Constantia Valley, Big Five Curio
Market, Cape of Good Hope Nature
Reserve, Cape Point (where the two
oceans meet), and Simons Town
(Jackass Penguins). This tour
departs from the V&A waterfront at
13h00 and returns in the late
afternoon.
Entertainment
Drumming
Glynn Berridge, Mass Appeal Productions
CAPE SOUTH COAST ‘The
frolicking Whales’
Experience the breathtaking beauty
of the coastal route via Gordon’s
Bay. Appreciate the natural beauty of
Harold Porter Botanical gardens and
watch the frolicking whales in
Hermanus. Visit the Whale Museum.
There is also a drive back past apple
farms and a visit to a farm stall on
way back over Sir Lowry’s Pass.
This tour will leave from the Lord
Charles at 10h00 in the morning.
Delegates will return to the V&A late
afternoon. PLEASE NOTE: This tour
is a full day tour and thus delegates
wishing to attend the morning EE
tours should not choose this option.
The V&A Waterfront offers a variety
of entertainment for the evening of
the Wednesday 29th September:
Cafés, Restaurants, Bars, Cocktail
bars and Taverns
7
MONDAY
PROGRAM
PROGRAM
Monday 27 September: Participation in EE
09h00-10h00
Conference
Opening
Venue:
Ballroom
10h00-10h45
Plenary
Session
Introduction
Zuzu's Kwaito Alphabet Song and
'Eita Banana'
Opening address
Welcome address
10h45-11h00
11h00-12h30
Venue:
Somerset 2
Session Chair: Phyllis Piotrow, Population and
Family Health Sciences, Bloomberg School of
Public Health, Johns Hopkins University, USA
Ruth Tomaselli, Centre for Culture, Communication
and Media Studies, University of KwaZulu-Natal,
South Africa
Martine Bouman, Netherlands EE Foundation,
The Netherlands.
Uttara Bharath Kumar, Zambia Integrated
Health Programme, Zambia
11h00-12h30
Tea
Participation
and EE
Mass Media
and Beyond
Venue:
Somerset 1
Research
and EE
Kami & Zuzu Takalani, Sesame
Siven Maslamoney, SABC Education, South Africa
Jane Bertrand, Center for Communication Programs,
Johns Hopkins University, USA
Participation: Essential, manipulative
or controlling?
Session Chair
Warren Parker
Participatory photography in EE
Arvind Singhal, Lynn Harter, Ketan Chitnis and
Davendra Sharma, School of Communication Studies,
Ohio University, USA
Participation or propaganda: Some
ethical dilemmas in approaches to
health communication campaigns
Lynn Dalrymple, DramAidE, South Africa
Venue:
Ballroom
11h00-12h30
Warren Parker, CADRE, South Africa
Theme
Venue:
Ballroom
11h00-12h30
This is ITT! Enabling dialogue and
influencing behaviour amongst people
to prevent the spread of HIV
Kim Hope, Mpone Moeketsi and Thabo Nhlapo,
Themba HIV/AIDS Project, South Africa
Session Chair
Ruth Tomaselli
Centre 4: Producing a medical TV
drama series in Uganda
Cheryl Lettenmaier, JHU/CCP, and Basil Tushabe,
Communication for Development Foundation, Uganda
The join-in circuit: An interactive tool
to work with young people on sexual
and reproductive health within
German Technical Cooperation
Luitgard Matushka and Regine Meyer, GTZ, Germany
The importance of print media in the
youth market and how to use it
effectively.
Siphokazi Koyana, MiniMag, South Africa
Participation
and EE
Workshop
Venue:
Somerset 3
12h30-14h00
Lunch
14h00-15h30
Participation
and EE
Venue:
Ballroom
14h00-15h30
Mass Media
and Beyond
Venue:
Somerset 1
8
Session Chair
Jane Bertrand
Creating Popular Public Service
Siven Maslamoney, SABC 1, South Africa
Radio Ado: A creative, self-sustained
radio project aimed at creating a model
teen-operated health education radio
show to reach teenagers with sexual
and reproductive health education
messages in a EE popular format
Enriqueta Valdez Curiel, Namir Nava-Mireles and Diana
Ruiz-Ceron, Universidad de Guadalajara, Mexico
Intervening with differential
modalities and intensities of EE in
rural India: Implication for research
and practice.
Nithya Muthuswamy, Kim Witte, Desiree Duff and
Arvind Singha, Ohio University, USA. Presented by
Kim Witte
Introduced by
Nazli Jugbaran
Africa’s fight against HIV/AIDS: Aiming
to provide an African perspective on
HIV/AIDS through film and theatre
Firdoze Bulbalia, Moments, South Africa
Session Chair
Mkonzeni Gumede
Embodying the message, keeping it
‘real’: Using personal stories, clothes,
and popular culture in the service of
participatory educational video
entertainment
Sandra Weber, Department of Education, Concordia
University, Canada, Monika Mak, Department of Art
History and Communication Studies, McGill University,
Canada
Three plays - Integrating adolescent
reproductive health and substance use
and abuse information into secondary
schools' activities in Lagos state,
Nigeria through drama.
Robert Ubara and Richard Adewusi,
YouthAid Projects, Nigeria
Community reinforcement of an EE
intervention
Siphiwe Rametsi, Media Support Solutions, Isabel
Bhowa, Muchada Masawi, Grace Osewe, CDC
Zimbabwe, Sue McLain, Todd Koppenhaver, CDC
Botswana, and Joseph Petraglia, Global Health
Communications, USA
Session Chair
Brigid Schutz
Re-writing the script: The MARCH
approach to combating HIV/AIDS
Joseph Petraglia, Global Health Communications, USA
Folk media as an EE strategy for
HIV/AIDS prevention and care
Nirupama Sarma, India Canada Collaborative HIV/AIDS
Project (ICHAP), India
Puppets to the resque: Puppetry as a
tool in HIV and AIDS awareness and
behaviour change motivation
George Ayoma, CARE-Kenya, Kenya
9
MONDAY
14h00-15h30
Research
and EE
Venue:
Somerset 1
14h00-15h30
Participation
and EE
Workshop
Venue:
Somerset 3
PROGRAM
PROGRAM
Session Chair
Zahid Hussein
Identifying and systematising ‘value’
in EE productions: Nashe Maalo as a
case study
Eran Fraenkel, Search for Common Ground, Belgium
What difference it makes: Measuring
the impact of Tsha Tsha, a television
drama series
Kevin Kelly, Warren Parker, CADRE, South Africa and
Larry Kincaid, JHU-CCP, USA
Assessing fidelity to theoretical
principles in a Zimbabwean radio
serial drama
Nicola Harford, CDC/Axiom Resource Management,
Zimbabwe; Anne Sebert, CDC/Axiom Resource
Management, USA and Christine Galavotti, CDC, USA
Introduced by
Helen Hajiyiannis
Workshop on adolescent sexuality
and self discovery using theatre in
education and puppetry
Digambar Narzary and Javita Narang, NEDAN
Foundation, India
Participation
and EE
Venue:
Somerset 2
Participation
and EE
Workshop
15h30-15h45 Tea
15h45-17h15
Participation
and EE
Venue:
Ballroom
Research
and EE
Venue:
Somerset 1
10
Venue:
Somerset 3
Session Chair
John Molefe
The child affective media in Kenya giving children a voice in advocating
for their rights and development
Wajuhi Kamau, Plan Kenya, Kenya
Communicating social reform
strategies through ‘creativity-based’,
‘multi-youth-authored’ educational
documentary video-making
Monica Mak, Department of Art History and
Communication Studies, McGill University, Canada
Si Mchezo! Magazine - building
informed communities
Amabilis Batamula and Abel Ngapemba, East African
Development Communication Foundation (EADCF),
Tanzania
Session Chair
Juju Mlungwana
Performing identity: Using image
theatre and living newspaper theatre to
interrogate identity construction
Christina Marin, Arizona State University and Valle del
Sol. Inc., USA
Session Chair
Arvind Singhal
17h15-20h30 Free time and dinner
Entertainment Education and
participatory Theatre in Northern
Thailand
Parichart Sthapitanonda, Faculty of Communication
Arts, Chulalongkorn University, Duangkae
Buaprakon, People's Theatre Group, Thailand and
Arvind Singhal, Department of Communication, Ohio
University, USA
20h30-22h00
The use of theatre for social change:
The arepp: Theatre for Life
methodology
Brigid Schutz, Gordon Bilbrough and Annette
Brokensha, arrep: Theatre for Life, South Africa
Participation versus professionalism:
Using non-actors in EE programmes
in factories
Emma Durden, South Africa
Session Chair
Larry Kincaid
EE and health literacy: Effects of
Taru, a radio soap opera in India
Desiree Duff, Kim Witte, Nithya Muthuswamy and
Arvind Singhal, Department of Communication,
Ohio University, USA. Presenter: Kim Witte
Health on screen: The portrayal of
sex and relationships in soap and
drama series
Martine Bouman, Netherlands EE Foundation, The
Netherlands
A dream of passion: Engaging with
issues in adolescent sexuality
through educational theatre
Gay Morris and Gabrielle Sulcas, Department of
Drama, University of Cape Town, South Africa
Evening
Plays
Crossings
Mothertongue: UCT Theatre Group, South Africa
Japan
DramAidE Theatre Group, South Africa
Look before you leap: Hangin’
arepp: Theatre for Life, South Africa
Venue:
Somerset 1 & 2
Venue:
Somerset 3
11
MONDAY
PROGRAM
PROGRAM
Participation and EE: Monday 27 September, 11h00 - 12h30
Participatory
photography in EE
Arvind Singhal, Lynn Harter, Ketan Chitnis
and Davendra Sharma,
School of Communication Studies,
Ohio University, USA
This paper analyses the role of
participatory photography in assessing
entertainment-education initiatives.
Participatory photography puts the
camera in the hands of the people, who
are encouraged to document and coshare their own reality through photos.
The process of taking a photograph
provides an opportunity to develop a
story that was previously rejected,
silenced, or overlooked. Further, the
photograph’s narrative becomes a
participatory site for wider storytelling,
spurring community members to further
reflect, discuss, and analyse the issues
that confront them. Eight disposable
cameras were handed out to the
listeners of Taru, a popular radio
programme in India. The purpose was to
gauge the influence of Taru on audience
members in certain villages of Bihar,
India. As opposed to asking subjects
questions, and thereby constraining the
nature and scope of their word
responses, they were asked to capture
Taru's influence on them (or their
community) through the language of
images.
Participation or
propaganda:
Some ethical dilemmas in
approaches to health
communication campaigns
Lynn Dalrymple, DramAidE, South Africa
Health Communication strategists have
long realised the importance of
indigenous culture as a vehicle for
communication. Numerous programmes
have been established in which local
cultural forms have been recruited for
‘selling’ health messages. In the last
decade, special attention has been paid
to messages about the prevention of
infection with HIV/AIDS. The paper
draws upon the writer’s experience of
using participatory theatre and drama,
as one of the genres of entertainment
education, for health promotion in
KwaZulu-Natal, South Africa. This
participatory approach seeks to foster
the creativity of individuals and provide a
voice for communities that are often
silenced. The broader aim is to integrate
such programmes within a
12
communication development strategy
designed not only to promote healthy
living but also to contribute to people’s
general well being. All this is linked to
even broader aims of promoting
democracy and national unity, without
the sacrifice of cultural
diversity.Participatory approaches posit
that health promotion through cultural
activity is not a gift from the elite to the
masses but something best produced by
the community itself. The aim is to
mobilise and sensitise people through
information, entertainment and
opportunities for debate in forms that
are accessible and relevant. However,
the use of traditional external forms can
amount to cultural engineering and in
fact become a deliberate policy of
strengthening a specific social group
through its cultural justification. Indeed,
participatory approaches can have the
opposite effect to that which is intended.
Far from freeing people and
democratising society they may in fact
integrate them into a hierarchy,
transform them into consumers,
accentuate social differences and be a
useful instrument for ideological
domination. The paper explores these
effects – both intended and unintended and ways of mitigating them.It is
important to recognise that culture and
tradition are inextricably linked with
hierarchy, and like clothes, immediately
situate their owners at a point in the
social and cultural scale. To tamper with
cultural forms might be to affront
people’s dignity and humanity. On the
other hand, in a rapidly changing society
people are seeking the knowledge and
skills to drive change and take
responsibility for their choices.The paper
explores the ways in which
entertainment education can promote
health or amount to propaganda. This
does not only apply to the use of
traditional cultural forms for conveying
messages. Ideological abuse is
sometimes hidden or dressed up for
highly sophisticated societies. How do
communication stategists recognise,
face and deal with these ethical
dilemmas?
Mass Media and Beyond: Monday 27 September, 11h00 - 12h30
This is ITT!
Centre 4:
Enabling dialogue and influencing
behaviour amongst people to prevent
the spread of HIV
Producing a medical TV drama series
in Uganda
Kim Hope, Mpone Moeketsi and Thabo
Nhlapo, Themba HIV/AIDS Project, South
Africa
ITT enables dialogue and influences
behaviour amongst people to prevent
the spread of HIV. Interactive Themba
Theatre helps people explore ways of
transforming their lives and gives them
strategies to keep themselves safe
within the context of HIV and AIDS. The
Interactive Themba Theatre (ITT) process
draws from Forum Theatre,
dramatherapy, psychodrama, theatre
games, improvisation, formal teaching
methods, play devising, play directing
and performance techniques. The actoreducators and audiences have
contributed to making ITT a process
specific to South Africa. The Interactive
Themba Theatre process uses a
participatory approach, including both
traditional practices (song, dance, and
storytelling) and contemporary
methodologies and theories. For
example, Prochaska and DiClemente’s
transtheoretical model of change informs
ITT's work, and the actor-educator
training includes aspects of Stanislavski’s
system combined with ITT's own training
methods.
Cheryl Lettenmaier, JHU/CCP, and Basil
Tushabe, Communication for Development
Foundation, Uganda
Centre 4 is the first international quality
TV drama series produced in Uganda,
and has been broadcast throughout
English-speaking Africa. Produced in
2002, the 13-part medical drama series
shows the real challenges faced by
health workers in rural health centres
while communicating key information
about a variety of health issues common
to sub-Sahara Africa. Each program
tells its own story; and the series as a
whole the progressive changes brought
about in the health centre by a new,
dedicated, and dynamic in-charge who
wins community support. A team of
Ugandan artists and health experts
designed the Centre 4 characters and
storylines, with advise and coaching
from experienced television scriptwriters
and directors. From design to filming
and post-production, the production
team worked hand in hand with health
experts to ensure realism, accuracy of
information, and to ensure that health
messages speak to the real life
experiences of men, women and
children living in rural Uganda. Using a
rather unorthodox approach to
entertainment for education, Centre 4
aims to motivate men and women to use
public health services, while showing the
real problems of service quality. Early
programs in the series show a
disfunctional team of health providers at
Konaweeka Health Centre. The incharge is stealing drugs for use in his
private clinic and blackmailing the
dispenser to cooperate with his scheme.
The receptionist, who is rude and
insulting to patients and fellow workers
alike, is extorting under-the-table fees
from clients. But all this starts to
change when the new in-charge arrives.
The beautiful, and unexpectedly female,
doctor begins to make changes almost
immediately, igniting anger and a
campaign of deceit among the health
centre staff. Luckily, community
members and a love-struck laboratory
technician join the doctor in her fight to
get the health centre back on
track.Using humor, suspense, romance
and drama, the series educates viewers
about a variety of health issues from
malaria control, prevention of diarrhoea,
postnatal care, nutrition, immunisation,
family planning, and HIV/AIDS. The
series as a whole inspires viewers to
become more actively involved in the
operations of their local public health
clinics.Centre 4 has been broadcast in
more than 20 countries in sub-Saharan
Africa since its release in October, 2002.
It is also available on video in two
vernacular Ugandan languages and in
Kiswahili, with accompanying discussion
guides. The series and selected
programs have been used widely in
Uganda for community education.
The join-in circuit:
An interactive tool to work with
young people on sexual and
reproductive health within German
Technical Cooperation
Luitgard Matushka and Regine Meyer, GTZ,
Germany
The ' Join-In Circuit about AIDS' , ' Love
& Sexuality' (Mitmach-Parcours, MMP)
was introduced into GTZ’s work two
years ago. Originally it was developed by
the German Federal Centre for Health
Promotion (BZgA), which has worked
with this instrument for the past 10
years. The MMP is part of the German
national campaign to prevent HIV/AIDS
and is mainly used with school students
and groups of young people. It
combines a highly interactive
experiential game with an exhibition and
consists of five stands which promote
personal reflection on various aspects of
HIV/AIDS and other issues related to
sexuality. Most important for the success
of the MMP is the personal dialogue with
participants - addressing them on the
cognitive as well as the emotional level
and actively involving them. Because the
MMP has proven successful within the
German HIV/AIDS campaign, and since
GTZ has a cooperation agreement with
BZgA, it was decided to try to adapt this
instrument for work with young people in
developing countries with high HIV
prevalence rates.
The importance of print
media in the youth market and
how to use it effectively.
Siphokazi Koyana, MiniMag, South Africa
This presentation will focus on the
experience that MiniMag has gained as
the longest surviving children’s
magazine in South Africa. Focusing on
learning through print media, it will
share what has worked for the
publication over the past 10 years by
exploring topics such as choosing the
right print medium, the profile of a
young reader, understanding the target
audience, the profile of a tween-teen
magazine, and finding unique ways to
brand a product. The presentation will
explore how the magazine targets
different LSMs, keeps ahead of the
competition, builds partnerships with
big co-operations, and fulfils its mission
to be a non-profit organisation that is
socially responsible.
13
MONDAY
PROGRAM
PROGRAM
Research and EE: Monday 27 September, 11h00 - 12h30
Creating Popular Public
Service
Siven Maslamoney, SABC1, South Africa
SABC1 is South Africa’s most watched
TV channel. Initially built on soaps and
foreign drama, the channel has
undergone a substantial repositioning to
ensure that it meets its public service
mandate while remaining the most
watched channel. Moreover it has to
fund itself from advertising revenue. In
order to meet this challenge, the channel
created a vision for “popular public
service” which it has successfully
delivered over the last 2 years. This
paper describes this experience and
looks at lessons learnt about providing
public service TV for a mass audience.
Radio Ado:
A creative, self-sustained radio
project aimed at creating a model
teen-operated health education radio
show to reach teenagers with sexual
and reproductive health education
messages in a EE popular format
Enriqueta Valdez Curiel, Namir Nava-Mireles
and Diana Ruiz-Ceron, Universidad de
Guadalajara, Mexico
Radio ADO is a creative, self-sustained
radio project aimed at developing a
model teen-operated health education
radio show to reach teenagers with
sexual and reproductive health
education messages in an EE popular
format. The project aims to promote
health protective factors and prevent risk
factors that widely affect adolescents
living in the Mexican city of Morelia,
Michoacan, and rural areas around it.
The radio programme is a youth
development project designed and
conducted from an adolescent’s
perspective, presenting options for teens
to maximise their creativity and to
develop communications skills.
Simultaneously, the show presents
factual and relationship information on
topics related to adolescent sexuality,
growth and development, pregnancy,
abortion, sexually transmitted infections,
HIV/AIDS, violence prevention, and peer
relations. Thus far, this educational
intervention project has been evaluated
through a baseline study, a follow-up
survey among Morelia´s adolescents,
and focus group discussions designed
to assess overall exposure to the show
and to measure its impact on listeners’
health risks and knowledge, attitude,
and behaviour towards protection.
Adolescent surveys were also conducted
in a comparison community, where no
such intervention exists. Throughout the
planning and development of the
project, Radio ADO has built strong
networks with an important range of
governmental and nongovernmental
agencies, private businesses, and
individuals that have donated time and
services to Radio ADO. In exchange,
Radio ADO has opened up for them a
radio space that reaches the adolescent
population group - one that is usually
difficult to access.
Intervening with
differential modalities
and intensities of EE in
rural India:
Implication for research and practice
Nithya Muthuswamy, Kim Witte, Desiree Duff
and Arvind Singhal, Ohio University, USA.
Presented by Kim Witte
EE strategies have been widely used to
maximise the reach and effectiveness of
health messages. Studies have
concluded the EE strategies are
successful in engaging and motivating
individuals to change attitudes,
intentions, and behaviours related to
health outcomes (e.g., Piotrow et. al.,
1992; Rogers et. al., 1999; Valente et.
al., 1994). Little is known, however,
about how differences in intensities (low,
medium, and high) and modalities
(audio, visual, and kinesthetic) of EE
interventions combine to influence
desired outcomes. This paper reports on
a quasi-experimental study that
compared four matched sites in the
Muzzaffarpur District of India’s Bihar
state that were exposed to varying
degrees of EE intervention intensities
and modalities in a panel design before,
during, and after the intervention. The
purpose of the entertainment-education
intervention was to promote gender
equality, safer sex practices, and family
planning in the state of Bihar - one of
the poorest in India. The theoretical and
practical implications of the findings, as
well as the limitations of the study, are
discussed.
Participation and EE: Monday 27 September, 14h00-15h30
Embodying the message,
keeping it ‘real’:
Using personal stories, clothes, and
popular culture in the service of
participatory educational video
entertainment
Sandra Weber, Department of Education,
Concordia University, Canada
How can we encourage group or
individual participation in the production
of educational entertainment media?
What forms might group participation
take? What about creative control?
What ethical issues does this sort of
work raise? How does group
participation or collaboration affect our
own vision/aesthetic? In what ways
does creative participatory production
generate new knowledge? How does
making a video, for example, promote
social change and learning? Where are
the boundaries between research and
production, production and education,
education and social change? This
session presents three papers/videos
that help refine and explore these
questions by involving four
scholars/filmmakers from Canada and
South Africa, most of whom have
worked together at some point over the
past five years in different combinations.
Three plays
- Integrating
adolescent reproductive health and
substance use and abuse information
into secondary schools' activities in
design and implementation are less likely
to be effective. Over six years, Youthaid
has involved adolescents in designing
and producing three plays: The Last
Candle, My Name is Not Everybody, and
Keep Off the Grass. Adolescents
participate in focus group discussions to
pick issue areas and to make
contributions to the form and content of
the drama. Scripts are written by project
staff and pre-tested among the target
group while the young people rehearse
and produce the plays, as pilots. The
plays are then presented in competition
formats in schools and youth groups.
Pre-presentation and exit questionnaires
are administered to the audiences to
assess what they know about the issue
before the plays are presented, and what
they learn afterwards. The cast for each
production group are trained as peer
health educators for their respective
schools.
Community reinforcement
of an EE intervention
Siphiwe Rametsi, Media Support Solutions,
Isabel Bhowa, Muchada Masawi, Grace
Osewe, CDC Zimbabwe, Sue McLain, Todd
Koppenhaver, CDC Botswana, and Joseph
Petraglia, Global Health Communications, USA
Behaviour change is sometimes seen as
a matter of individual choice and
decision-making. But the MARCH
(modeling and Reinforcement to
Combat HIV/AIDS) prject of the US CDC
and its national affiliates (BOTUSA In
Botswana and CDC Zimbabwe) is
predicted on the theory that successful
behaviour change can only be sustained
if environmental, social and personal
barrriers are removed and that
facilitators at all three levels are
leveraged. For this reason, community
reinforcement is a co-equal component
with the radio serial drama (RSD)
entertainment - education component, of
the MARCH approach. The primary
reinforcement activity is the Listening
and Discussion Group (LDG). groups are
formed among members of the target
audience (aged 15-29 in Zimbabwe, 1549 in Botswana) within villages,
workplaces, schools and churches to
enable listeners of the RSD
(Makgabaneng in Botswana, Mopoani
Junction in Zimbabwe) to integreate
behaviour change issues raised in the
dramas into their own lives. In the LDGs,
participants are led by trained afcilitators
from the community in a wide-ranging
explaoration of an issue (eg seeking
VCT, care of PLWHAs)
Lagos state, Nigeria through drama.
Using personal stories, clothes, and
popular culture in the service of
participatory educational video
entertainment
Participation and EE Workshop: Monday 27 September, 11h00 - 12h30
Africa’s fight against
HIV/AIDS:
Aiming to provide an African
perspective on HIV/AIDS through film
and theatre:
Firdoze Bulbalia, Moments, South Africa
The presentation reports on the
production of a 13-part television series
that aims to provide an African
perspective on the HIV/AIDS pandemic.
Researched in more than 15 African
countries and filmed in about 10 African
countries, the series aims to offer an
African solution and to show how
14
Africans are taking responsibility and
finding ways of dealing with the
pandemic. The testimonies are those of
African people dealing with the
pandemic - they celebrate life and living
and are not focused on death and dying.
The most poignant moments in the
series are the testimonies of PLWHAs
who do not want pity, but rather to
educate and to tell their stories so that
others will understand more about
HIV/AIDS. The programme explores the
Ugandan ABC approach and the way the
youth of Ethiopia use traditional coffee
ceremonies to talk to their elders. It is an
educational tool that can be used by
NGOs, broadcasters, governments,
CBOs and educational institutions. The
series is presently being screened in
African countries that are URTNA
member broadcasters. The presentation
highlights the lessons learned in the
programme's production. How can
African producers show people affected
by this pandemic in a positive light?
How can they listen to the youth and the
aged? What can be shared, and what
can be learned from one another?
Robert Ubara and Richard Adewusi,
YouthAid Projects, Nigeria
Adolescent sexual and reproductive
health are considered significant in
relation to adolescents and to
development universally. Research has
shown that informing and educating
adolescents in areas of
sexual/reproductive health and
substance use, using didactic methods,
yields little or no results. In Youthaid’s
experience, however, edutainment
through drama has been shown to be
effective. Information and educational
activities in the areas of sexual and
reproductive health and substance
abuse for young people which do not
include young people themselves in the
15
MONDAY
PROGRAM
PROGRAM
Mass Media and Beyond: Monday 27 September, 14h00-15h30
Re-writing the script:
The MARCH approach to combating
HIV/AIDS
Joseph Petraglia, Global Health
Communications, USA
Theory and past research suggest that
behavioural intervention startegies to
prevent HIV/AIDs may be most effective
when they possess certain key elements:
they are personalised,. Affectively
compelling, provide models of desired
behaviours, and are linked to social and
cultural narratives. Further, effective
strategies must take into account the
opportunities and obstacles present in
the local environment. Building on these
key theoretical and empirical findings,
MARCH (Modelling and Reinforcement
to Combat HIV/AIDs) consists of two
main components: 1) entertainemnteducation using broadcast media, and 2)
Interpersonal reinforcement at the
community level. The approach to EE
that MARCH focuses on is one that has
shown particular promise: long running
serialized dramas. This method is based
on social cognitive theory and uses
long-running serialised dramas, on radio
or television, to portray role models
evolving toward the adoption of positive
behaviours. This presentation will
describe the methods and tools MARCH
has developed to help country project
teams integrate reserach and theory into
program development.
Folk media as an EE
strategy for HIV/AIDS
prevention and care
Nirupama Sarma, India Canada
Collaborative HIV/AIDS Project (ICHAP),
India
The presentation reports on an
integrated district demonstration project
in Bagalkot district, Karnataka, India, a
district with a high HIV prevalence rate,
implemented by the India-Canada
Collaborative HIV/AIDS Project (ICHAP).
The intervention aimed to increase
awareness, and change attitudes and
behaviour related to HIV/AIDS through
the use of traditional folk media in a rural
community. To promote community
participation, 30 community-based folk
groups representing eight traditional folk
forms were sensitised and trained on
different aspects of HIV/AIDS. This was
challenging, since many of them usually
conduct only devotional performances.
The groups, including both men and
women, then developed scripts
16
incorporating messages on STIs,
condom use, the need to reduce stigma
and discrimination against people living
with HIV/AIDS, and the importance of
sexual fidelity. The scripts were then set
to folk tunes that were traditional
vehicles for spiritual expression. About
125 performances were held within a
four-month period, with an average
audience size of 500-800. There were
high levels of participation by key
stakeholders. Opinion leaders, village
councils and temple priests who hosted
the performances within temple
premises, clearly indicated the readiness
of a community to talk about a disease
that had already claimed many lives
around them. The performances were
followed by interactive discussions
facilitated by outreach workers on
various aspects of HIV/AIDS.
Puppets to the resque:
Puppetry as a tool in HIV and AIDS
awareness and behaviour change
motivation
George Ayoma, CARE-Kenya, Kenya
Puppetry preceded the invention of
writing and there is evidence that
puppetry was used in India 4000 years
ago and in China 2000 years ago. In
Africa, in particular the East African
region, puppetry has deep roots, where
puppets were in the form of small
roughly carved dolls. Dolls were used for
ritual magic and in Kiswahili are called
Vinyago or Vibwengu. Various types of
puppets exist for example, Finger
puppets,
Hand or Glove puppets, Rod puppets
and Marionette or string puppets,
Shadow puppets and Bunraku
(Japanese puppet originally manipulated
by three people). Puppets break down
barriers: Puppetry breaks down racial,
social and political barriers and
stereotypes because it represents the
“neutral” aspect of human, exaggerating
its “larger that life” issues. The puppet
can deliver a strong message: This can
be done in a light-hearted manner
without offending or frightening the
audience. Puppets easily transcend
barriers of space and time. Puppetry can
facilitate the earning of skills. A puppetry
project for adults, youth or children can
have tremendous educational value to
the participants. There are training
courses for beginners, advanced and for
the training of trainers. Puppeteers are
trained and assisted to develop
messages on reproductive health and
other social development issues, such
as conservation, corruption etc.
Puppetry relies on entertainment value to
inform and educate. Training
methodologies encourage creativity,
innovation and improvisation, both in the
construction and performance of
puppets. Puppetry was initially
introduced to compliment folk media
activities (indigenous theatre through use
of song, drama, dance poetry, story
telling). The curriculum has since
expanded to include forms of art, such
as masks, mime, role-plays and
participatory education theatre (PET)
techniques. This combination enhances
the quality of puppet performances and
assists audiences in understanding
messages better. Audience participation
during the performance and during PET
exercises leads to interactive
discussions, which help identify issues
that arise during performance, and
reinforce the messages and initiative
discussion and debate.
Research and EE: Monday 27 September, 14h00-15h30
Identifying and
systematising ‘value’ in
EE productions:
Nashe Maalo as a case study
Eran Fraenkel, Search for Common Ground,
Belgium
Nashe Maalo is a children’s intendedoutcomes TV series that Search for
Common Ground produced in
Macedonia for five seasons (1999-2004).
SCG conducted research between each
season to evaluate various parameters
of the series’ “success” in conveying its
curriculum. Each post-season
summative research was used as the
formative data for the following year’s
production. Now that the project has
concluded, SCG is conducting an overall
impact assessment of the series over the
course of five years. What has already
emerged in the preliminary stages of
designing the research is that Nashe
Maalo has elicited as many “unintended
outcomes” as intended outcomes.
Oftentimes, such unintended outcomes
within fall within the realm of “soft” data
that have been regarded as
unquantifiable. Among its other
objectives, this five-year research will
investigate and will attempt to formulate
a method to identify and systematise
these “soft” data, which we are calling
elements of “value.” By illuminating why
a programme design works (or doesn’t),
rather than only how, our research
results will contribute to improved EE
curriculum, production, and outreach
design and implementation. In this
workshop, Nashe Maalo is presented as
a case study. The presentation will focus
on the programme’s original concept,
the changes it went through during its
five years of production, the evaluation
parameters that were used for the final
assessment, and research results as
they pertain to the notion of ' value'.
What difference does it
make? Measuring the impact of
Tsha Tsha, a television drama series.
Kevin Kelly, Warren Parker, CADRE, South
Africa and Larry Kincaid, JHU-CCP, USA
The presentation is concerned with
understanding the challenges of
evaluating mass media entertainmenteducation programmes given that the
variables that influence exposure may
also be associated with outcome
variables making it difficult to establish
equivalent exposed and unexposed
groups. The context is the South African
television series Tsha Tsha, targeted at
18 to 24 year-olds with a focus on
sexuality, relationships and HIV/AIDS.
The methodology and key findings of an
evaluation of the first 26 episodes of this
serial drama are presented. A three
stage panel design with 960
respondents is used to assess the
impact of the series, as well as individual
and group interviews. Evaluation
emphasis is placed on understanding
changes in attitude and behaviour
indicators which we claim are effects of
the drama series. A method is
presented for making such claims.
Multiple logistic regression is used to
identify factors associated with
propensity to view the drama and
propensity score analysis is used to
create six exposed and six unexposed
groups matched on a composite
propensity score. These groups are then
compared on before and after outcome
variables to evaluate the effects of the
drama series. Watching the drama was
discovered to have had small but
significant effects on specific attitudes
and behaviour commitments related to
HIV/AIDS. The presentation also outlines
the challenges of measuring exposure
which need to be engaged with if such a
method is to be used.
Assessing fidelity to
theoretical principles in
a Zimbabwean radio
serial drama
identified key stage of behaviour change
transitions, and underlying psychosocial
processes associated with those
transitions (e.g. weighing the positive
and negative consequences of changing
behaviour, overcoming barriers, etc).
Analysts classified and coded segments
of the storyline from key scenes and
episodes to assess whether the
behaviour change principles were
evident in the action, explicit in the
dialogue, and appropriately used in the
storylines. More than 100 episodes o f
this on-going radio drama were available
for analysis. Two major storylines were
analysed using the coding scheme
developed. Clear evidence of cognitive,
emotional and behavioural change
transitions were noted, however, explicit
modelling and dialogue appropriate to
the stages of change were not as
evident in the early stages of the drama,
as they were in later episodes. It cannot
be assumed that theory-based HIV
prevention entertainment-education
interventions will, in fact, use theory at
the practical program level. It is essential
to provide tools and guidance to
program implementers to assist in
operationalising behaviour change
concepts. On-going monitoring of
storyline and script development is
necessary to ensure that the principles
are appropriately integrated into the
program. In Zimbabwe, an extensive
review process supported this
integration and tools were refined and
re-introduced to scriptwriters during the
18-month drama production process.
Nicola Harford, CDC/Axiom Resource
Management, Zimbabwe; Anne Sebert,
CDC/Axiom Resource Management, USA
and Christine Galavotti, CDC, USA
To be effective in changing risk
behaviour, an HIV/AIDS entertainmenteducation radio serial drama in
Zimbabwe used behaviour change
theory in storyline and character
development. Tools were developed to
assist scriptwriters in operationalising
and integrating behaviour change
principles into the scripts, including
movement through stages of behaviour
change, overcoming obstacles to
change, utilizing resources in the
environment, and experiencing positive
benefits of change. Storylines and
scripts from the radio serial drama were
analysed to assess whether key
concepts from behaviour change theory
were evident in the dialogue and action
of key characters in the dramas. A
coding scheme was developed which
17
MONDAY
PROGRAM
PROGRAM
Participation and EE Workshop: Monday 27 September, 14h00-15h30
Workshop on adolescent
sexuality and self
discovery using theatre
in education and
puppetry
Digambar Narzary and Javita Narang,
NEDAN Foundation, India
Childhood is marked by curiosity,
learning through fun, joy and liveliness.
Childhood is the best time of everyone's
life, yet it has its own share of risks.
Children grow and change with every
new thought and action they witness
and are influenced by innumerable
forces around them. The Nedan
Foundation works with children and
adolescents in order to help them
understand themselves by discovering
their true potential and to make them
comfortable and confident about
themselves. It also provides them the
opportunity to express their opinions
and confusions and to develop in them
the skills to analyse and handle various
situations effectively. The issues of
sexuality - including sexual and
reproductive health issues, HIV/AIDS,
gender-based violence, adolescent
growth, adolescent fear, and anxieties are addressed with adolescents through
workshops in schools and in
communities using Theatre in Education
(TIE) techniques and puppetry as a
medium of exploration and expression.
These participatory and interactive
techniques not only help in facilitating
open discourses on sexuality, but also
enable a process of self-exploration and
introspection by breaking inhibitions on
issues of sex and sexuality. During the
process of personalisation, skills are
imparted that enable them to face the
challenges of life and to confront
situations that make them feel uneasy,
fearful and restless. They are also
prepared to raise awareness and
sensitise people on various issues that
concern them and their communities.
likely to draw audiences in through a
sense of ownership of the project and
identification with those involved. Those
who are participating become rolemodels within their own community and
amongst their peers. For behaviour
change to take place, individuals must
have a developed sense self-efficacy,
and their ability to change. Theorists
such as Freire, Boal and Servaes argue
that without participation and it’s
resultant empowerment, real learning
does not take place, and this self-
efficacy is not enhanced.
Professionalism and participation may
refer respectively to the two key
elements of EE, namely entertainment
and education. The debate as to which
is the more important element rages
between those who divide themselves
into educators and entertainers. The
paper explores the tension between topdown directives and bottom-up
participation. It looks at the difficulties
of balancing the need for
professionalism in ensuring an effective,
persuasive campaign, and the need to
use participatory strategies to create a
sense of ownership and identification
amongst factory workers.
Research and EE: Monday 27 September, 15h45-17h15
EE and health literacy:
Effects of Taru, a radio soap opera in
India
Participation and EE: Monday 27 September, 15h45-17h15
Entertainment Education
and participatory
Theatre in Northern
Thailand
Parichart Sthapitanonda, Faculty of
Communication Arts, Chulalongkorn
University, Duangkae
Buaprakon, People's Theatre Group,
Thailand and Arvind Singhal, Department of
Communication, Ohio University, USA
The objective of this paper is to share
our experience with participatory theatre
in reenergizing a remote community in
Mae-Hong-Son in northern Thailand.
Based on the belief in the power of
entertainment-education, public
participation, and the potential of
cultural approach, we applied
participatory action research to
encourage ethnic high-school students
to participate in a theatre workshop. We
joined hands with a well-known
community theatre group, Ma-Kam-Pom,
and trained the students in dramatic
concepts and skills. Further, a culturallybased story was developed and
collectively performed in the community.
We also researched the social change
processes among the students and the
community since this theatre
intervention. We distill the lessons
learned from this community-centered
participatory E-E approach.
18
The use of theatre for
social change: The
arepp: Theatre for Life
methodology
Brigid Schutz, Gordon Bilbrough and
Annette Brokensha, arrep: Theatre for Life,
South Africa
Using dramatic theatre performances
(drama and puppetry), arepp: Theatre for
Life tours nationwide, providing
interactive, live social lifeskills education
to school-aged youth, in different types
of communities, and in all the major
languages of South Africa. The
performances address the issues
inherent in sexuality and the
development of self image. Each show is
carefully crafted to highlight and
encourage thought and debate around
the issues of relationships, pregnancy,
gender, discrimination, sex, HIV/AIDS
and STIs, and all forms of abuse. The
specific goal is that, through the
encouragement of positive self-image,
the enforcement of self-esteem, and the
provision of complementary information
and lifeskills, learners will make sound,
informed lifestyle choices about what is
best for them, and their society, in their
particular situations.The nature of
theatre is in the art of storytelling,
engaging the audience in a
dramatisation of 'real' issues and ‘real’
lives, and in doing so allowing the issues
to be addressed without stigma or
condemnation. Because the characters
are not preaching a message, but
instead 'living' the issues that they are
dealing with, in much the same way as
the audience is, the audience is more
engaged, less suspicious, and not as
easily offended by subjects which border
on taboo, personal belief, selfperception, or privacy. They are not
being told what to do, but rather are
being invited to share and ‘live’ other
options.
Participation versus
professionalism:
Using non-actors in EE programmes
in factories
Emma Durden, South Africa
This paper looks at the experience of
two health-related theatre projects with
the South African Clothing and Textiles
Workers Union (SACTWU) in South
African factories. Both theatre projects
were driven from the top-down, with
directives from the health associations of
the trade union. Both projects employed
a professional consultant to manage and
direct the process, but made use of local
unemployed trade union members as
actors.Patrick Coleman (1999) cites two
of the “9P’s” of entertainment education
as professionalism and participation.
One the one hand, a professional and
slick campaign is likely to attract
audiences, and hold their attention,
encouraging behaviour change through
social learning and the modelling of
positive health behaviours. On the other
hand, a participatory campaign is more
Desiree Duff, Kim Witte, Nithya
Muthuswamy and Arvind Singhal,
Department of Communication, Ohio
University, USA. Presenter: Kim Witte
The purpose of this paper is to assess
how audience members’ health literacy
influences the impact of Taru, a radio
soap opera in India, on a number of
health literacy-related outcomes,
including improvement in health-related
knowledge, attitudes and motivation
toward family planning, and HIV/AIDSrelated health behaviours. Health
literacy, a key outcome of health
promotion, is defined by WHO as “the
cognitive and social skills which
determine the motivation and ability of
individuals to gain access to,
understand, and use information to
promote and maintain good health”
(Nutbeam, 2000, p. 264). Literacy is a
functional component of health literacy;
low literacy is therefore a major barrier
to improvement in overall health literacy.
The relationship between low literacy
and health problems is well documented
(Kickbusch, 2001; Parker et al., 1995;
Pfizer Inc., 1998; Williams et al., 1995),
but relatively little research has been
conducted on the relationship between
literacy and activities related to health
promotion, health protection, and
disease prevention (Rudd, 2001). This
study attempts to fill this gap in research
by analysing the impact of an
entertainment-education intervention on
a number of health literacy measures for
individuals at varying levels of literacy.
The radio soap drama Taru was aired in
Bihar, India beginning in February, 2002.
In addition to other goals, it was
designed to promote small family size
and HIV/AIDS prevention. The narrative
nature and aural format of the
programme should aid in overcoming
barriers to literacy, thus improving the
general health literacy of listeners across
varying levels of literacy.
Health on screen:
The portrayal of sex and relationships
in soap and drama series
Martine Bouman, Netherlands EE
Foundation, The Netherlands
scriptwriters, health communicators and
audiences. The aim of this research is to
get a more in-depth understanding of
the possibilities and limitations of using
the EE strategy in soap and drama
formats. By using actual examples of
storylines in soap and drama series, it is
possible to start a dialogue between
health communicators, scriptwriters and
youngsters, and to create a platform for
discussing potential impact on sexual
health related behaviour. The end result
of this project is the design of a mutual
frame of reference.
A dream of passion:
Teenagers spend a great deal of their
time watching television, especially soap
and drama series. These television
formats can serve as a source of sexual
information for youngsters. In the ‘Health
on Screen’ research project, the
portrayals of sexual behaviour and
intimate relationships in four different
Dutch popular soap and drama series
(Onderweg naar Morgen, Goede Tijden,
Slechte Tijden, Costa and Najib & Julia)
were analysed. One hundred episodes
were watched and fourteen different
drama lines that dealt with sexual issues
and intimate relationships (lesbian and
gay issues, first intercourse, promiscuity,
sex among mentally retarded
youngsters, (in)fidelity in relationships)
were identified. These fourteen different
drama lines (average length 15 minutes)
were analysed using a code scheme
based on health behaviour theories (role
of social support, peer group pressure,
role modelling etc.). The scriptwriters of
these storylines were also interviewed
and focus group discussions with
youngsters (13-15 years and 16-19
years) who watch these series were
held. This resulted in three highly
interesting perspectives from the
different stakeholders involved:
Engaging with issues in adolescent
sexuality through educational theatre
Gay Morris and Gabrielle Sulcas,
Department of Drama, University of Cape
Town, South Africa
A primary health care clinic in Delft, near
Cape Town, South Africa, approached
the Drama Department at the University
of Cape Town to join them in a health
promotion project. The clinic has chosen
teenage pregnancies as its health and
wellness theme for the year, and they
want the Department's participation in
developing a drama production for
Grade 7 learners. They hope that theatre
may be a way to communicate
effectively with teenagers in local
schools and to engage their attention
with issues of sexuality and sexual
behaviour. Led by a graduate student
from the Drama Department, it is
envisaged that the ‘cast’ - comprised of
peer educators and enthusiastic, out of
school, unemployed youth from within
the Delft community - will develop a
drama or theatre intervention.
Collaboration and planning for this
project have just begun. As an outsider
to the community in Delft, it is difficult to
gain a sense of the actual issues at play
19
MONDAY
in the community with regard to teenage
pregnancy. For the theatrical intervention
to be successful, it has to rely heavily on
a participatory research model, whereby
‘the commitment is to the active
participation of the ‘’researched’’ in the
entire research process, and a process
of democracy which avoids the
traditional top-downwards power
relationship of researcher and
researched.’ While health issues,
economic issues, family values and the
educational future of young parents are
all important considerations in relation to
teenage pregnancy, it is possible that
teenagers themselves may be more
engaged by issues of sexual attraction,
affection, approval and hopes for the
future – the stuff that dreams are made
of. Corralling a tidy message about
family planning behind the fence of
cognitive thought may ensure it has no
effect on behaviour. Beard and Wilson
are emphatic in this regard: ‘In order to
achieve effective and long-lasting
PROGRAM
learning it is necessary to address the
three areas of cognition, behaviour and
emotions’. This is only one of the
challenges that this project faces.
Borrowing loosely from Prentki’s model
(2003), developing the drama
intervention for and with the Delft
participants will probably involve
research into the community, sharing all
of our stories, and deriving common
objectives. Then the group will devise a
drama event. Having tested it against
the objectives identified earlier, and
adjusted the product accordingly, they
will take it for performance into the
schools. Having the material
transformed, re-formed and informed by
Grade 7 learner involvement will shed
light on the challenges arising from a
participatory theatre intervention and
assist in understanding the process
more fully.
PROGRAM
greater-Windhoek area of Namibia. A
comprehensive evaluation consisted of a
baseline and follow-up panel study. This
paper presents the results of this
evaluation as well as examining the
relative impact of the different
components of the radio variety show on
behaviour. For example, the Suzie and
Shafa Show consisted of host dialogue,
testimonials, a drama, "Mad Milly,"
music, and other components. What
was the audience reaction to these
different components? What was the
effect on behaviour? Program
implications for entertainment education
radio programs are given.
The Suzie and Shafa Show was a 26episode variety radio show aired in the
Participation and EE: Monday 27 September, 15h45-17h15
The child affective
media in Kenya - giving
children a voice in
advocating for their
rights and development
Wajuhi Kamau, Plan Kenya, Kenya
The Children’s Video Project is a very
powerful tool, a media that assists
children; community and development
workers within Plan program areas
identify and analyze issues that impact
on children’s development. Through the
Child Aeffective Media project, children
produce video magazines on issues
affecting them at home, at school and in
the community. The project enhances
the active participation of children in
community development processes in a
way that is effective and affective to
children, hence aeffective media.It aims
at giving children a voice within their
community, working with children as
participants in the development process
in recognition that the child’s
perspective is different from that of the
adult. Issues presented by children are
discussed and analysed at the
community level and incorporated in the
Community Development Plans.Child
consultationThe children’s consultation
is a forum where children express freely
their opinions, hopes and desires. These
workshops help children talk about the
20
world they live in. The results of child
consultation offer Plan and development
facilitators unique insights. We learn:Whether children’s rights are being
respected or notWhat children hope their
futures will bring and how they think
they can achieve their dreams.The
climax of the production are the video
shows for children, parents and
communities, and the subsequent
discussions on the situation of children
in the area.Children’s issuesLack of
latrines, Street children, Diseases,
HIV/AIDS, Child labor, Gender
discrimination, Malnutrition, Child verbal
and physical abuse, environmental
pollution, drunken parents, etc, are some
of some of the issues brought by the
children and they way they impact on
their growth and development.. Child
participation, child rights and
Community DevelopmentListening to
children helps development workers,
parents and communities understand
Children’s rights. Adults and children
themselves get to appreciate that
children have ideas that can be used to
initiate child-focused development
projects.Children came up with a video
drama on HIV/AIDS and the way it is
affecting and infecting children. This
video has become very useful for peer
education/awareness raising on the
issue of AIDS and children as the
viewers identify with the issues
presented by their peers.In addition to
presentation will focus on creativitybased, multi-youth-authored,
educational documentary videomaking a videomaking approach that Monica
Mak, alongside Dr. Claudia Mitchell
(McGill University), Program Director of
the former Canada-South-Africa
Education Management Program,
utilised in order to create the awardwinning educational documentary video
Unwanted Images: Gender-Based
Violence in the New South Africa (2001),
a film addressing various forms of sexual
violence in the post-apartheid era.
Employing Unwanted Images as a case
study, this presentation will demonstrate
that the emphasis on videographic
creativity - via animated illustrations,
stylistic montages, dramatic
reenactments, and specific soundscapes
- enables this educational documentary
video to inform and, equally important,
to appeal to different types of audiences,
ranging from South African educators
and anti-violence workshop
coordinators, to Canadian film festival
patrons and university scholars.
Additionally, the inclusion of various
young people’s perspectives, conveyed
primarily through their drawings,
provides a simple albeit highly effective
way to present statistical data or
pedagogical language in a manner that
is as substantial and interesting to adult
viewers as it is to their adolescent
counterparts. The argument is made that
the significance of incorporating the
viewpoints of various youth lies in this
technique’s potential effectiveness to
garner and sustain the viewing interest
of other young adults – for whom
educational documentaries are often
made.
Si Mchezo! Magazine building informed communities
Amabilis Batamula and Abel Ngapemba,
East African Development Communication
Foundation (EADCF), Tanzania
Si Mchezo! magazine is part of the HIP
multimedia ‘edutainment’ initiative in
Tanzania. The magazine is part of a
communication strategy to target semiliterate, out-of-school youth in rural
communities with information about
sexuality, reproductive health, lifestyles
and income generating opportunities.
The aim is to give rural youth a ‘voice’ an opportunity to express themselves
and exercise their right to participate in
HIV /AIDS prevention work. The
magazine content is characterised by
cover stories in the form of testimonials,
cartoon and photo stories, ‘what’s up’,
music, advice, Q and A, etc. The
production approach is participatory the editors travel out to the rural areas
with their laptops and digital cameras.
They collect editorial material and story
lines generated by the youth. The latter
pose as models for photos, contribute
with questions, etc. The HIP office
receives hundreds of letters from all over
Tanzania; many of these come from Si
Mchezo! readers. Some are published
and some are integrated into the
message development strategy, which is
an on-going process. The group also
conducts focus group discussions
around new Si Mchezo! issues to get a
better understanding of how the readers
engage with the content. HIP has been
distributing 45 000 copies of Si Mchezo!
monthly in five regions in southern
Tanzania. The project is scaling up to 60
000 copies, but will go bimonthly for the
next year from June 2004. The entry
point to the community has been
through large-scale employers, i.e. tea
estates, but also local NGOs and
government. Work is done in partnership
with local organisations that operate
more face-to-face initiatives (through
peer educators, community based
distributors, etc.), as the products have
a dynamic effect if content is actively
debated in the community context. With
these partners the HIP team also
organises road shows and follows-up
with entertainment in communities. Local
groups are invited to perform and
editors, staff living positively with HIV,
and others address the Si Mchezo!
reading communities.
the Child Rights workshops, Children
have presented the video magazines
during Child Rights Day celebrations and
for broadcast on private and government
TV channels.
Participation and EE Workshop: Monday 27 September, 15h45-17h15
Communicating social
reform strategies through
‘creativity-based’, ‘multi-youthauthored’ educational documentary
video-making
Monica Mak, Department of Art History and
Communication Studies, McGill University,
Canada
One prevailing notion in modern society
is that educational videos sacrifice
artistry and an audience’s emotional
engagement with a narrative, for the sole
purpose of disseminating bland, factual
instructional information. Another
common idea is that documentaries
geared toward the advocacy of social
reform strategies are exclusively the
work of adults; in other words, they are
presumed to be the exclusive platform
for grown-ups’ authoritative perspective
toward a given social issue, such as
combating sexual violence or promoting
HIV/AIDS awareness, instead of being a
participatory forum inclusive of young
individuals’ perspectives on it.
Challenging both perceptions, this
Performing identity:
Using image theatre and living
newspaper theatre to interrogate
identity construction
Christina Marin, Arizona State University and
Valle del Sol. Inc., USA
Focused on the construction of identity
with Latina adolescents, the purpose of
this study is to explore the potential for
Latinas to formulate a sense of their own
identity through the use of theatre for
social change techniques and exercises.
Marin has been conducting and
documenting an ethnographic case
study with the bilingual youth theatre
company, Teatro Movimiento Ollín: Una
Fuerza Lateen@, sponsored by a local
behavioural health and prevention
agency serving the Latino population of
Phoenix, Arizona. The goals for this
project include highlighting the possible
implication of incorporating theatre and
performance into critical pedagogical
sites where Latinas can explore the
complexities of their world and project
their own self-reflexive version of how
they construct identity. The stories of
these young women emerge through an
exploration based on the arsenal of
Theatre of the Oppressed techniques
developed by Augusto Boal. Combining
theory and praxis the work is viewed
through the Freirean notion of dialogical
action. These young women have
learned to “read their world,” as society
has prescribed their identity as 'at risk
youth' destined to fail. Through this
performative work, the “untested
feasibilities” that allow these young
women to construct their own notions of
individuality and potential are uncovered.
This workshop demonstrates several of
the Boalian techniques used by the
youth theatre group to engage
participants in a dialogue regarding how
these methods can motivate critical
thinking and social change. Through
Image Theatre and Living Newspaper
Theatre we will collectively explore
notions of the construction of identity
and discuss the potential of this
theatrical work to encourage praxis
among young people. The construction
of identity is fundamentally performative.
It is the intention to provide a
collaborative framework in this workshop
for participants to investigate how these
forms of theatre and performance can
give voice and agency to populations
who are often marginalised and
discounted. Work in Image Theatre and
Living Newspaper Theatre will provide
opportunities for participants to actively
develop human sculptures based on
both concrete and abstract notions of
identity. These sculptures will then be
used as the basis for dialogues in which
the group will interrogate the non-verbal,
performative aspects of these images
used to construct and communicate a
concept of self within society.
21
TUESDAY
PROGRAM
Tuesday 28 September: Mass Media and Beyond
09h00-09h15
Introduction
Day Overview
Lynn Dalrymple, DramAidE, South Africa
09h15-10h45
Plenary
Session
Mass Media and Beyond:
Session Chair: John Molefe, Soul City, South Africa
Esta de Fossard, Johns Hopkins University, USA
Rene Smith, MISA, South Africa
Jane Stadler, Department of Humanities,
Universities of Cape Town, South Africa
‘Foot in the door’, or ‘In your face’?
Venue:
Ballroom
10h45-11h00
Tea
11h00-12h30
Mass Media
and Beyond
Venue:
Ballroom
Session Chair:
Wayne Alexander
Use of tele-film on HIV/AIDS:
Rajendran Jeevanandham, Nalamdana, India and
Uttara Bharath Kumar, Johns Hopkins University, USA
with multiple endings to stimulate
viewer discussion on social norms in
Tamilnadu, India
Soul Buddyz Club: Grassroots
11h00-12h30
Participation
and EE
Venue:
Somerset 1
11h00-12h30
Research
and EE
Session Chair:
Esca Scheepers
Venue:
Somerset 2
Effects of folk music and
community outreach drama
Mohammed Yahaya, Department of Agricultural
Extension and Rural Development, University of
Ibadan, and Razak Olajide, Center for Communication
and Reproductive Health Services (CCRHS), Nigeria
performances on HIV/AIDS awareness
in Niger state of Nigeria
Effects of a radio-drama variety
show on youth behaviour: Which
components of a variety show work
best?
Eish! Thandi breaks her
silence! An evaluation of the power
of the comic as an element of an
HIV/AIDS communication strategy
11h00-12h30
Donique De Figueiredo, Soul City, South Africa
Participation
and EE
Workshop
12h30-14h00
Lunch
14h00-15h30
Mass Media
and Beyond
Don Edkins, Alosha Rayray and Susan Levine, Steps
for the Future, South Africa
Session Chair:
Sue Goldstein
YouthAID projects
incorporated: A multi-media
Richard Adewusi and Femi Ojetunde, YouthAid
Projects Incorporated, Nigeria
Venue:
Ballroom
programme for mainstreaming
adolescent reproductive health,
substance use and abuse issues for
in-school and out-of-school youths in
Nigeria through drama, music, poetry
and fine arts
Putting a face on AIDS in
Rwanda
Jesse Hawkes, Rwandans and Americans in
Partnership (RAP), Rwanda
Memeta! Speaking out against
sexual violence through drama-intodocumentary
Jean Stuart and Claudia Mitchell, Faculty of Education,
University of KwaZulu Natal, South Africa
14h00-15h30
Research
and EE
Venue:
Somerset 1
Kim Witte and Gorelick Nahum, Health Communication
Partnership, Namibia
Kirti Menon, University of the Witwatersrand, South
Africa
Introduced by
Maddy Semaar
Interactive Themba theatre
Kim Hope, Mpone Moeketsi and Thabo Nhlapo,
Themba HIV/AIDS Project, South Africa
Session Chair:
Annette Brokensha
Our neighbourhood: A distance
Josephine Nyambe, Zambia Integrated Health
Programme, Zambia and Uttara Bharath Kumar, Johns
Hopkins University, USA
Venue:
Somerset 3
activism and participation by young
children in South Africa - the role of
the media in stimulating and
supporting action
Non-broadcast outreach using
documentary film in facilitated
screenings in Southern Africa
PROGRAM
learning radio drama in Zambia for
community health promoters
Radio-based teacher training in
response to acute educational
needs in Afghanistan
Gordon Adam, Media Support, Scotland
EE for conflict prevention
and/or transformation in
context
Francis Rolt, Search for Common Ground, Belgium
Session Chair:
Lynn Dalrymple
Alphabet soup and
gobbledygook! Are our messages
Esta de Fossard, JHU-CCP, USA
really making sense?
It all comes down to this:
Warren Parker, CADRE, South Africa
Jousting between education and
drama in the production of a
television series
How obvious can you be?
Doe Mayer, University of Southern California, USA
Heavy-handed messages in EE
material
22
23
TUESDAY
14h00-15h30
Mass Media
and Beyond
Venue:
Somerset 2
PROGRAM
Session Chair:
Martine Bouman
Across borders: Capacity building
Harriet Perlman and Esca Scheepers, Soul City, South
Africa
in entertainment methodology,
learnings and challenges of regional
health programs
The Three Amigos: A public
education programme on HIV/AIDS
prevention
PROGRAM
15h45-17h15
Mass Media
and Beyond
Venue:
Somerset 2
Selling Safety: Marketing road
Richard Adewusi and Uche Nnogo, YouthAid Projects
Incorporated, Nigeria
Research
and EE
Workshop
Introduced by
Penny Dlamini
Using participatory storytelling, metaphor and forum theatre
Peter Labouchere, Bridges of Hope, Zimbabwe
Venue:
Somerset
to create powerful learning
experinces around issues of HIV
prevention, support and positive living
15h30-15h45
Tea
15h45-17h15
Mass Media
and Beyond
Venue:
Ballroom
Zahid Hussein and Shagufta Zahid, Sustainable
Resource Foundation (SuRF), Pakistan
side helps carve out representative
communication strategies to educate
women against domestic violence
A video that opens the community to
issues of stigma and discrimination
17h15-20h30
20h30-22h00
Esta de Fossard
The potential of comics as a
mass market medium for Africa
Lee Hartman and Oliver Power, Strika Entertainment
(Pty) Ltd, South Africa
Audience resonance: Merging
Pumla Ntlabati and Kevin Kelly, CADRE, South Africa
Mark Rieker, University of KwaZulu-Natal, South Africa
Participation
and EE
Workshop
Introduced by
Nazli Jugbaran
Introduction to simple puppetry
techniques: Participatory puppet
Brigid Schutz, arepp:Theatre for Life, South Africa
Venue:
Somerset 3
projects for classroom and community
activities
Free Time and dinner
Day Overview- EE-Specific site visits and tours
Session Chair:
Uttara Bharath Kumar, Johns Hopkins University,
Zambia Integrated Health Programme, Zambia
safety in South Africa
15h45-17h15
14h00-15h30
Adielah Maker
Pakistan: Street theatres ‘déjà vu’
Tikambe! Let's talk about it:
Brent Quinn and Firdaus Kharas, The Three Amigos,
South Africa
Generations.com: Encouraging
parent-child communication on
HIV/AIDS issues through a live
interactive television programme
incorporating music and card game
Session Chair:
Evening
session
Story telling
Mkhonzeni Gumede, Steering Committee/DramAidE, South Africa
Gcina Mhlope, Story teller, South Africa
perceptions, theory and context in
developing television drama
Folk media as a means of EE
and community motivation
15h45-17h15
Research
and EE
Venue:
Somerset 1
Nester Theuri, Family Programme Promotions Services
(FPPS), Kenya
Session Chair:
Harriet Perlman
Pathways to change: Integrating
research and theory into EE
Maungo Mooki, CDC, Botswana, Nicola Harford, CDC,
Zimbabwe and Joseph Petraglia, Global Health
Communications, USA (FPPS), Kenya
Caring about what happens in
Tsha Tsha: A theory-based
Larry Kincaid, JHU, USA, Kevin Kelly and Warren
Parker, CADRE, South Africa
evaluation of a TV drama in South
Africa
Results from a preliminary
evaluation of the Makgabaneng
radio serial drama in Botswana
24
Katina Pappas-Deluca, CDC DRH/NCCDPHP, USA.
Presenter: Joseph Petraglia, Global Health
Communications, USA
25
TUESDAY
PROGRAM
PROGRAM
Mass Media and Beyond: Tuesday 28 September, 11h00 - 12h30
Use of tele-film on
HIV/AIDS: with multiple endings
to stimulate viewer discussion on
social norms in Tamilnadu, India
Rajendran Jeevanandham, Nalamdana, India
and Uttara Bharath Kumar, Johns Hopkins
University, USA
Many newly married women in
Tamilnadu, India, are at high risk of their
partner being HIV positive. Nalamdana’s
field experience and a study conducted
by YRG Centre in Chennai showed 82%
of the monogamous women in the
sample with partners who were HIV
positive. The prevalent practice of
arranged marriages makes this a serious
problem in a state where STI prevalence
is 24%. To empower vulnerable young
women and to enlighten their families
about the risk of HIV, Nalamdana, an
organisation for behaviour change
communication, developed a one-hour
Tamil film, “Pesu Maname Pesu” (Speak,
O My Heart, Speak). The protagonist,
whose marriage is arranged to man she
does not know is HIV-positive (although
his family does), represents the real story
of many women in India. The film, whose
script was field tested in 20 sites (rural
and urban) and with other NGOs, was
telecast at primetime during the week of
World AIDS Day 2002, on Podhigai
Channel, which reaches 92% of the
Tamil TV viewers. Two different endings
were presented to viewers who were
asked to write in with the one which
moved them and why. A week later, as
announced, before the prize draw, a
follow-up film was telecast that had
people asking questions on issues
raised in the film. A well-known doctor
answered them and told people where to
go for voluntary testing and counseling.
Soul Buddyz Club:
Grassroots activism and participation
by young children in South Africa the role of the media in stimulating
and supporting action
Donique De Figueiredo, Soul City, South
Africa
The media influences the way we see
the world and contributes significantly to
the construction of social norms. Drama
is undisputedly a powerful vehicle for
social change. The power of drama lies
not only in its ability to attract large
audiences, but also in its capacity to
shift social norms through constructive
role modelling and catalysing
interpersonal dialogue and debate. This
26
helps create an environment that
supports change.The Soul Buddyz multi
media intervention and accompanying
evaluations consistently illustrate the
power of the media to shift knowledge
and attitudes and to influence behaviour
change. Since its inception in 1998, Soul
Buddyz has become a household name
in South Africa and a key source of
information for children and their adult
caregivers. Having addressed pertinent
issues relating to children’s rights, health
and safety, education, and HIV and
AIDS, Soul Buddyz has captured the
interest, imagination and loyalty of many
young children in South Africa. In
addition to being valued for its impact
on knowledge, skills and attitudes, Soul
Buddyz has also sparked enthusiasm,
interest and activism among young
children in the country. There has been
an influx of requests by loyal child
audiences to expand the scope of Soul
Buddyz to encompass and support
grassroots participation by children.
Young children across South Africa have
identified a need for a platform where
they can emulate ideas, activities, values
and behaviours depicted in the television
and radio drama series.Soul Buddyz has
since expanded its mandate to
incorporate the Soul Buddyz Club
project as part of the existing multimedia
vehicle. This paper will describe the Soul
Buddyz Club intervention and, at the
same time, will attempt to illustrate the
direct impact that the media has had in
influencing participation and promoting
activism by children in South Africa.
Non-broadcast outreach
using documentary film
in facilitated screenings
in Southern Africa
Don Edkins, Alosha Rayray and Susan
Levine, Steps for the Future, South Africa
The media intervention developed by
Steps for the Future uses documentary
film to reach people on an emotional and
intellectual level and provides a forum
for people to ask questions and seek
information relevant to their own
situation. Participation by HIV-positive
people through the production and
outreach process has been a priority
element of the communication strategy.
Billboards, radio programmes and
television reach people in different ways,
but do not often allow for discussion of
issues such as stigmatisation and
discrimination which can further the
‘otherness’ approach to HIV/AIDS. In
many cases, media fails to reach those
marginalised by poverty and lack of
access to information. So how does one
reach people using media? Steps for the
Future is a collection of 38 short and
documentary films made by local
filmmakers in six southern African
countries, with 18 different local
language versions of selected films. The
films are offered to organisations
working in the HIV/AIDS field, together
with training in facilitation skills. A
facilitated screening offers a safe place
to ask intimate and difficult questions,
and be given information relevant to the
audience's needs. In some cases a
mobile cinema unit is used to provide
maximum use of the medium, with video
projection on a large screen. Steps films
are screened using mobile cinemas in
Lesotho, Mozambique, Malawi, Zambia
and Zimbabwe. In Lesotho, the mobile
cinema operates on a regular basis with
three HIV-positive activists as
facilitators. The three are also the main
protagonists in two of the Steps films. A
major finding of a study evaluating the
impact of documentary films about
HIV/AIDS on audiences in southern
Africa is that viewers throughout the
region empathise with the characters in
the STEPS film collection. The films give
people a chance to look inside
themselves, and then to look at one
another in a new light. Confronting the
indifference, irresponsibility, and stigma
that surrounds HIV/AIDS is the first step
towards taking responsibility for
ourselves and for one another. The
STEPS film Ask Me, I'm Positive (48
mins, 2004) documents this process and
what it means for the HIV-positive
facilitators and provides insight into
audience response and participation in
rural Lesotho.
Participation and EE: Tuesday 28 September, 11h00 - 12h30
YouthAID projects
incorporated:
A multi-media programme for
mainstreaming adolescent
reproductive health, substance use
and abuse issues for in-school and
out-of-school youths in Nigeria
through drama, music, poetry and
fine arts
Richard Adewusi and Femi Ojetunde,
YouthAid Projects Incorporated, Nigeria
Youthaid Projects Incorporated, a
national youth focussed, non-profit, nongovernmental organisation using multimedia edutainment approaches to
implement adolescent reproductive
health and substance use/abuse projects
among adolescents in Nigeria. Youthaid
was founded in 1990 to carry out
research and interventions in the areas
of how adolescents can use creative
talents to impact on SRH and substance
use/abuse issues among themselves and
the general population. Youthaid Project
started as Youthaid Festival, an annual
talent hunt initiative designed to identify
and sharpen the skills of adolescents
with creative abilities in areas of music,
drama, poetry and fine arts. Selected
adolescents are then taken through
rehearsals during which they are trained
as peer educators using their talent
areas and environments. The rehearsal
period which last a month is followed by
one-day public participation festival
designed as a competition within the
different talent areas. Participants are
subsequently encouraged to produce
materials with adolescent reproductive
health and substance use/abuse themes
for larger audiences.
Putting a face on AIDS
in Rwanda
(daily during vacations)), Interactive
Theatre (engaging the audience in
discussions about the play during which
parts of the play are re-played for the
audience to show how characters could
have made different choices) and MultiApproach (reinforcing the play and its
message through other forms of media.)
The students perform interviews in their
community and at their school on the
topic of HIV/AIDS, questioning people
about prevention knowledge and issues
related to the negative stigma of
HIV/AIDS. The stories and interview data
are then combined into a play about
characters in an imaginary Rwandan
community. Accompanying songs are
written. The play includes lifeskills
classes, taught by a character in the
play. During these classes, the audience
can learn about HIV/AIDS and other
public health issues. The play also
serves as a platform to give the
audience detailed information about
where they can seek assistance. One of
the greatest challenges is finding a way
to get the attention of the youth without
resorting to methods that negate their
message. Many of the youth in the
drama clubs want to be 'stars.' They get
the attention of their peers by dressing
themselves up as their favorite hip-hop
star and then mime songs about wild
parties and sex, just prior to performing
a play about abstinence or safe sex.
With acting training and a good story to
tell in an innovative and engaging way,
the students can wow their peers with a
phenomenal performance and actually
get their peers to start thinking about the
important message of the play. The
musical composition and accompanying
recording of the songs actually afford
the students an opportunity to gain real
experience in a recording studio and to
feel like a star, while providing a
message that is important.
Memeta!
community development processes in a
way that is effective and affective to
children, hence 'aeffective' media. It
aims at giving children a voice within
their community, working with children
as participants in the development
process in recognition that the child’s
perspective is different from that of the
adult. Issues presented by children are
discussed and analysed at the
community level and incorporated in
community development plans.
The children’s consultation is a forum
where children express freely their
opinions, hopes and desires. These
workshops help children talk about the
world they live in. The results of child
consultation offer Plan and development
facilitators unique insights. It is revealed
whether children’s rights are being
respected or not, what children hope
their futures will bring, and how they
think they can achieve their dreams. The
climax of the production is the video
shows for children, parents and
communities, and the subsequent
discussions of the situation facing
children in the area. The project deals
with the following children’s issues: lack
of latrines, street children, diseases,
HIV/AIDS, child labor, gender
discrimination, malnutrition, child verbal
and physical abuse, environmental
pollution, drunken parents, and others.
Listening to children helps development
workers, parents and communities
understand children’s rights. Adults and
children themselves get to appreciate
that children have ideas that can be
used to initiate child-focused
development projects.
Speaking out against
Jesse Hawkes, Rwandans and Americans in
Partnership (RAP), Rwanda
sexual violence through drama-into-
Thirteen percent of the Rwandan
population is HIV positive. And 6.1% of
youth aged 15-24 have the disease
(MINISANTE). Fortunately, many youth,
both in and out of schools, are coming
together to fight HIV/AIDS, usually
through drama and poems.
Unfortunately, however, they are not
receiving adequate training to give them
the skills they need to teach others how
to create a culture of acceptance and
good health. The theatre methods used
include: Serial Drama (students write and
present a play in 10 episodes, bringing
back the audience week after week
Jean Stuart and Claudia Mitchell, Faculty of
Education, University of KwaZulu Natal,
South Africa
documentary
The Children’s Video Project is a
powerful tool - a media that assists
children, community and development
workers within Plan programme areas to
identify and analyse issues that impact
on children’s development. Through the
Child Aeffective Media project, children
produce video magazines on issues
affecting them at home, at school and in
the community. The project enhances
the active participation of children in
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Research and EE: Tuesday 28 September, 11h00 - 12h30
Effects of folk music and
community outreach
drama performances on
HIV/AIDS awareness in
Niger state of Nigeria
Mohammed Yahaya, Department of
Agricultural Extension and Rural
Development, University of Ibadan, and
Razak Olajide, Center for Communication
and Reproductive Health Services (CCRHS),
Nigeria
The project under focus utilized
Entertainment - Education strategies to
address the multitude of problems of
gender inequality in contemporary
Nigeria more specifically in Nupeland of
Niger State, Nigeria through community
participatory drama series and the use
of folk music to create awareness about
HIV and AIDS and other development
issues. The project mobilized the entire
community on the dangers of cutting
short the education of women through
the play which underscores the fact that
the place of gender equalities is eternal
struggle against male chauvinism and
religious bigotry. Consequently, the
gorilla publicity through the drama series
performed at various outreach
programmes created awareness on the
dangers of gender discrimination in
education, the folk music by youthful
popular musical group was used to
create awareness in the case of
HIV/AIDS which today, is arguably the
most deadly disease besieging the
working population of the African
continent. The HIV and AIDS scourge
poses a greater threat to the youth and
adult population than other known
diseases like malaria. The project used
popular young musician in Nupeland to
improved awareness, which hitherto has
been very low. Forty-four outreach
performances were recorded with over
2000 copies of the audiotape on HIV and
AIDS awareness distributed since the
year 2000. Post intervention evaluation
result shows 100% awareness about HIV
and AIDS compared to 83.3% lack of
awareness in pre-intervention years.
The project justifies the need to integrate
EE strategies for sustainable
development especially at the grassroots
level in Nigeria and other developing
countries with similar social and
economic realities. Also, packaging
development messages in community
mobilization should consider the
adoption of these EE channels as viable
options to limited access to conventional
media services to achieve desirable
social change and economic progress.
28
Effects of a radio-drama
variety show on youth
behaviour: Which components
of a variety show work best?
Kim Witte and Gorelick Nahum, Health
Communication Partnership, Namibia
The Suzie and Shafa Show was a 26episode variety radio show aired in the
greater-Windhoek area of Namibia. A
comprehensive evaluation consisted of a
baseline and follow-up panel study. This
paper presents the results of this
evaluation as well as examining the
relative impact of the different
components of the radio variety show on
behaviour. For example, the Suzie and
Shafa Show consisted of host dialogue,
testimonials, a drama, "Mad Milly,"
music, and other components. What
was the audience reaction to these
different components? What was the
effect on behaviour? Program
implications for entertainment education
radio programs are given.
Eish! Thandi breaks her
silence! An evaluation of the
power of the comic as an element of
an HIV/AIDS communication strategy
Kirti Menon, University of the Witwatersrand,
South Africa
The core impact indicators of any
prevention programme are awareness
and knowledge about diseases such as
HIV/AIDS and tuberculosis, willingness
to dispel myths, cultural practices and
societal pressures that increase the
spread of these diseases, change in
behaviour, and changes in prevalence
and mortality rates. The underlying aim
of the eKasi comic is to empower youth
by increasing their awareness and
knowledge of HIV/AIDS. eKasi is the
serialised story of a teenage girl who
reveals her HIV status live on national
radio. Her revelation and propensity to
talk openly and honestly about her
status leads to her being offered a
regular show on the radio and
developing a substantial audience. The
eKasi comic is a 24-page monthly comic
book that is currently distributed as a
free supplement in South Africa’s
biggest daily newspaper, Daily Sun, and
directly to 100 schools in Gauteng
Province and to several partner NGOs.
These distribution channels give eKasi a
circulation of 180 000 copies per month.
The comic has proved extremely popular
with readers. Literally hundreds of letters
and drawings are received every month,
providing evidence that the messaging is
achieving its goals. The objectives of the
eKasi programme are: to provide
relevant information that increases
understanding of the pandemic and
mitigates its impact on individuals and
their communities, and to promote
effective interventions, safer sexual and
social behaviour that supports informed
choices and curbs the spread of the
pandemic. eKasi provides entertaining,
interactive popular culture that works to
change youth lifestyles by normalising
open discussion on traditionally taboo
topics amongst 10 to 24 year-olds, their
friends and families. Drawing from
ongoing research and the experience of
communication experts, it is clear that
young people are not very receptive to
overt messages about HIV/AIDS and
other pandemics. eKasi has adopted a
more responsive approach by embracing
popular youth-orientated media
platforms to deliver contemporary
edutainment as a means of
communication and education. By
contextualising HIV/AIDS and sexualityrelated messages in accurate and
relevant depictions of youth lifestyle,
eKasi aims to change perceptions,
provide information and encourage
positive social and sexual behavioural
changes. The purpose of this paper is to
examine the extent to which the comic
medium has had success with the target
audience. The analysis will focus on the
knowledge, perceptions and an attitude
of the comic characters and the extent
to which the eKasi comics are effective
as a didactic pedagogic medium.
Participation and EE Workshop: Tuesday 28 September, 11h00 - 12h30
Interactive Themba
theatre
Kim Hope, Mpone Moeketsi and Thabo
Nhlapo, Themba HIV/AIDS Project,
South Africa
In this performance, alongside the
devised play, ITT uses a variety of
means to reinforce the ‘keep yourself
safe’ message. These include short
‘cameo’ scenes demonstrating a variety
of possible responses to situations
involving sexual encounters or other
issues (e.g the stigma of HIV in the
workplace). Colour-coded visual aids
using explicit terminology impart clear
messages about sexual activities.
Audience members are also invited to
offer alternative words in different
languages to ensure accurate
understanding. A “truth stick” enables a
character to tell the truth and no longer
hide behind denial or their “street cred”
image. A masked abstract character
illustrates how using “common sense” or
“knowledge” might prevent the
transmission of HIV. The presentation
shows how, using this unique interactive
theatre process, audience members may
move from the pre-contemplative stage
to the contemplative stage
(Transtheoretical Model), while at the
same time learning about HIV and AIDS
in an entertaining and non-didactic way.
Mass Media and Beyond: Tuesday 28 September, 14h00-15h30
Our neighbourhood:
A distance learning radio drama in
Zambia for community health
promoters
Josephine Nyambe, Zambia Integrated
Health Programme, Zambia and Uttara
Bharath Kumar, Johns Hopkins University,
USA
Having health impact at community level
is always a challemge, especially so
when resources are limited and many
scattered communities need to be
reached. In 1991 the Zambian Ministry of
Health, as part of its Helath reform
programme, began to promote
community involvement to bring
essentail health care as close to the
family as possible. 50% of Zambians
were not within normal walking distance
of a clinic. Thus Neighbourhood Health
Committees were created to be a link
between the clinics and the
communities. These 300 000 NHCs need
to be strengthened to be effective health
promoters and community mobilisers. A
26-week, 30 minute radio, EE distance
learning course was broadcast twice
weekly in 6 languges. This presentation
examines the strengths and weaknesses,
plans for the future and impact that the
programme has had.
Radio-based teacher
training in response to
acute educational needs
in Afghanistan
Gordon Adam, Media Support, Scotland
Following the toppling of the Taliban
regime and the restoration of a
semblance of peace to much of
Afghanistan after 25 years of war, the
demand for education by Afghans is
second only to their desire for security.
In response, USAID has funded the
Afghan Primary Education Programme
(APEP), headed by Creative Associates
International, to distribute textbooks, set
up an accelerated learning programme
for those who missed schooling, and
train teachers through radio
programming – radio-based teacher
training (RTT). Following a successful
pilot phase, 30 minutes of programming
in two local languages has been
broadcast daily since May 2004. With
RTT, the radio is the teacher, not a
teaching aid as in traditional distance
education. This paper examines how this
challenge has been tackled by Media
Support Solutions, a Scottish-based
development communications NGO, and
assesses initial evaluation results. This
ambitious concept of helping to train
teachers through radio programmes has
been predicated on the known loyalty of
Afghans to short-wave radio listening,
encapsulated in the often repeated
saying, “ Afghans pray five times daily to
Allah, and once to the BBC.” Recent
surveys indicate that between 60% and
70% of Afghans continue to listen to
radio regularly. Surveys from the past 10
years of the BBC Radio soap opera New
Home, New Life, also show that Afghan
listeners have a remarkable ability to
remember what they have heard. MSS’s
RTT programmes test the loyalty of
Afghan radio listeners to a new level. To
benefit, some 80,000 – 100,000 teachers
(plus many parents) have to listen daily,
remember key educational points (KEPs),
and put them into practice in the
classroom – all with no interpersonal
reinforcement. The objective is an
observable shift from rote to childcentred learning practices. At the end of
a year, teachers will be entitled to course
certification through a procedure of
assessment and testing. But to succeed,
programmes have to tackle the real
constraints faced by Afghan teachers:
coping with classes of 60 or more, lack
of equipment, and inadequate buildings.
The EE4 paper will focus on programme
content and presentation; understanding
and reflecting classroom problems; topic
selection issues from changing syllabi
for Grades 1 – 6 and from general
teaching methodologies; the creation of
key educational points (KEPs) and
sequencing them so as not to overload
listeners; the use of drama, oral
testimony and interviews to create an
effective entertainment-education mix;
creating partnerships within APEP, the
Ministry of Education, and amongst local
and international broadcasters to ensure
the programmes are widely available;
tracking impact on classroom practice of
KEPs through a combination of testing,
surveys and observation; and assessing
whether RTT is a model which can be
implemented elsewhere.
EE for conflict
prevention and/or
transformation in
context
Francis Rolt, Search for Common Ground,
Belgium
Search for Common Ground is the
largest NGO working in the field of
conflict transformation in the world. It
currently produces seven radio
soaps/dramas in six different countries
around the world, as well as many other
types of EE radio programming (music,
youth, kids’ programmes) for conflict
prevention and/or transformation. All
phases of conflict (impending, current or
post-) pose difficulties for producers of
EE, but also offer specific opportunities.
SFCG would like to discuss lessons
learnt, as well as to probe ways of
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collaborating with other organisations
producing EE. The roundtable will aim to
share SFCG's experience with
participants, while leaving room for
discussion of ways in which the two
most important strands of EE (health and
conflict transformation) can work
together in the future. The logic for such
a partnership is provided by the 1996
PROGRAM
World Health Assembly’s resolution
declaring violence a major and growing
public health problem throughout the
world; and by the World Health
Organisation’s powerful 2002 World
Report on Violence and Health, which
lays out the case for treating conflict as
a major public health issue. The
roundtable will focus on SFCG's
PROGRAM
experience in terms of i) the types of
messages; ii) the intended outcomes of
EE programmes for conflict prevention
and/or transformation; and iii) EE
achievements in terms of ameliorating
conflicts.
Mass Media and Beyond: Tuesday 28 September, 14h00-15h30
Across borders:
Capacity building in entertainment
methodology, learnings and
challenges of regional health
programs
Harriet Perlman and Esca Scheepers, Soul
City, South Africa
Research and EE: Tuesday 28 September, 14h00-15h30
Alphabet soup and
gobbledygook! Are our
messages really making sense?
Esta de Fossard, JHU-CCP, USA
It all comes down to
this: Jousting between education
and drama in the production of a
television series
Warren Parker, CADRE, South Africa
The main point of this presentation is to
look at the over-use of acronyms and
scientific terminology in many behaviour
change messages. While these forms of
language might make perfect sense to
those creating the messages, it is
imperative that message designers
consider how they will be accepted by
their audiences. We will look at
acronyms like ARH, MRH, ARI, HIV and
AIDS, NSV, LA, etc. and talk about what
they really mean and how they can be
misunderstood. We will then examine
some commonly used terms that can
easily be misunderstood in other
languages. Examples include: balanced
diet, voluntary counseling and testing,
and HIV positive. We will also discuss
whether our messages are always as
logical as they should be, whether they
are telling the whole truth, and whether
some of them should be adjusted to suit
the times. For example, we will look at
whether or not men who cheat on their
wives and then give their wives HIV
should be treated with kindness and
never stigmatised. We will consider
whether it is time to replace stigma
messages with responsibility messages
and whether or not it is time to introduce
a new ABC standing for Act
Responsibly, Be prepared and Consider
the Consequences.
30
The development of entertainment
education scripts for television and radio
programming involves ongoing
engagements between what it means to
be entertaining and what it means to
educate. These interests are articulated
within a framework of power relations
within the script development processes,
and engagements are particularly fraught
when equal consideration and weighting
is given to commentaries and positions
from both dramatic and educational
points of view. Strategies to facilitate
decision-making include the expert
review of story beats and scripts as well
as qualitative research with audience
representatives. Tensions may however
persist as a product of wideranging
understandings of education and drama
and the interface between the two, and
often final decision-making devolves to
intellectual jousting, trade-offs and
compromises. This paper reflects on
experiences of conflict within
scriptwriting processes and addresses
the importance of clearly defined
foundational theory and guidelines for
practice.
How obvious can you
be? Heavy-handed messages in
EE material
Doe Mayer, University of Southern California,
USA
Often health and social change
communication materials, including EE
examples, are designed so that the
message and story are clear-cut and
easy to understand. This is based on
the assumption that the clearer the
message, the greater its impact. As a
result, these messages often feel quite
heavy-handed and obvious. Is this
approach in fact the most effective one?
There has been a great deal of research
indicating that social change is
engendered by the conversation that the
media promotes. It is the author’s
contention that when material is too
simplistic and blatant, it invites very little
of this crucial conversation, while
material that is more evocative and
open-ended may keep the audience
more emotionally involved and thus
promote subsequent behaviour-change
conversation. The roundtable discussion
will look at available research and
debate the pros and cons of clear and
obvious messaging versus more openended and ambiguous materials.
The HIV/AIDS epidemic continues to
gain momentum in much of sub-Saharan
Africa, with a devastating personal,
social and economic impact on the
region. In the absence of a cure for
AIDS, communication strategies which
address the complexity of safer sex
practices and gender roles remain key to
curbing the HIV/AIDS epidemic. Popular
entertainment media are increasingly
used as a vehicle for health promotion
and social change, and for effective
HIV/AIDS communication. The Soul City
Institute for Health and Development
Communication is a non-governmental
organisation established in South Africa
in 1992. Through a popular edutainment
methodology, the project uses a mixture
of prime time television and radio
dramas in synergy with print material to
promote health and development. The
Soul City adult television series alone
reaches more than 17 million South
Africans, and has been broadcast in a
number of African countries. A youth
HIV/AIDS and lifeskills booklet was also
adapted in four SADC countries, where
1.3 million copies of the booklet were
printed and distributed to young people
in Lesotho, Swaziland, Botswana and
Namibia in several different languages.
The Choose Life evaluation showed that
the booklet had good impact. Soul City’s
Regional Health Communication
Programme was born out of the Choose
Life initiative. In many sub-Saharan
countries, limited expertise exists to
produce and implement effective
communication interventions. A need
exists to build communications capacity
and leadership at a country level to
improve public health interventions. At
the same time there is an opportunity to
use and modify some of the best
existing HIV/AIDS and public health
communication materials in Africa. The
Regional Health Communication
Programme is a five-year regional
programme that seeks to develop
effective health communication (TV, radio
and print) and to build local capacity by
working with identified partners in eight
sub-Saharan countries (Botswana,
Lesotho, Malawi, Mozambique, Namibia,
Swaziland, Zambia and Zimbabwe). The
programme is working with locally
identified NGOs in each country to
implement the project and is building
institutional and individual skills within
the partner organisations to manage,
produce and disseminate multi-media
health communication. This presentation
will discuss Soul City’s approach to
capacity building in EE methodology and
the model of working with local
participation in eight African countries.
We explore the importance of local
research-based approaches and inform
the debate around ‘people-centred
development’ approaches versus
centrally managed and controlled
initiatives.
The Three Amigos: A public
education programme on HIV/AIDS
prevention
Brent Quinn and Firdaus Kharas, The Three
Amigos, South Africa
The Three Amigos (TTA) consists of 20
television Public Service Announcements
(PSAs). Each short comedic sketch
depicts the risky adventures of three
animated, talking condoms. The loveable
amigos are called Shaft, Stretch and
Dick. The approach is endorsed by
Archbishop Tutu. He describes the
campaign as “…a powerful
communicating tool to encourage people
to change their behaviour. Animated
characters are a non-threatening, nonauthoritarian vehicle for communication.
An outstanding contribution…easily
understood by most people irrespective
of language or culture.” The narrative
approach combines a cartoon feel with a
serious message. The core outcome is
to de-stigmatise the condom itself,
entrenching the message that condoms
are our friends. The target audience is
sexually active people, especially
teenagers and young adults. The
pedagogic approach to C Messaging is
via humour, pointedly avoiding a
moralistic, didactic or preachy style.
Each spot marries a comical
(mis)adventure with a generic tag that
reinforces the ‘condomise’ message.
Dramatically, each sketch ends with an
implied challenge prompting selfreflection in the target and evaluation of
their own behaviour in terms of risk.
Irresponsible attitudes are parodied. In
essence the dysfunctional is nudged
towards common sense via warmhearted gagging. This provides an ideal
‘icebreaker’ and one that levels the
gender playing fields in discussion or
negotiation around protection. Women
are depicted as smarter than the amigos
and empowered to enforce their
protected sex choice. (One of the spots
features a female condom). Simply
seeing friendly condoms regularly on
television helps delivers another vital
outcome. It realigns the current
commercial branding of condoms as
accoutrement to sleaze. The PSAs are
currently on air in South Africa in Zulu,
Sotho, Afrikaans and English. The SABC
began playing the PSAs on World AIDS
Day, December 1, 2003. To date, the
PSAs have been played well over 1000
times. Endorsements via the TTA
website have been overwhelmingly
positive. In September 2004, the PSAs
will be launched into civil society in
South Africa, making the material
available to government departments
such as Health, Education and Military,
NGOs and CBOs. The global objective of
the campaign is to have the PSAs seen
in 100 countries, through $100 million
worth of donated airtime, reaching a
billion people. The series is currently
being adapted and translated into 50
languages.
Generations.com:
Encouraging parent-child
communication on HIV/AIDS issues
through a live interactive television
programme incorporating music and
card game
Richard Adewusi and Uche Nnogo, YouthAid
Projects Incorporated, Nigeria
Information, Education and
Communication (IEC) have been
employed universally as vehicles through
which interventions on health problems
have been provided. However, in
Nigeria, IEC on sexual health issues,
including HIV/AIDS, faces many
obstacles like religion and culture which
make the war against HIV/AIDS more
difficult. There is an assumption on the
part of parents that their adolescent
children already have sexual health
information - perhaps from schools.
Teachers themselves, however, do not
have the information and skills to
provide the information and education
adolescents require on HIV/AIDS. The
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primary and secondary school
curriculum equally have little or no
provision for sexual health information
and education. A 30-minute weekly live
interactive television programme was
designed to feature a family
(mother/child or father/child) discussing
a chosen HIV/AIDS issue each week. A
song addressing the chosen issue is
performed live by a young person. A
card game ('My Turn') with question on
PROGRAM
HIV/AIDS issues is featured to
encourage the live studio audience to
participate. Viewers participate by
answering questions or by making
contributions through telephone calls or
electronic mails. Gifts are available for
people who ask questions or make
contributions. This programme ran for
26 weeks. Studio participants grew from
25 to over 200 because of the interactive
and entertaining nature of the
PROGRAM
programme.Participants were able to ask
reproductive health questions that were
considered taboo because of the
openness of discussion in the cause of
the programmes. Finally, the songs that
were recorded in the cause of the
programme became useful for facilitating
HIV/AIDS awareness programmes for
large audiences in outdoor settings.
Research and EE Workshop: Tuesday 28 September, 14h00-15h30
Using participatory
story-telling, metaphor
and forum theatre to create
powerful learning experinces around
issues of HIV prevention, support and
positive living
Peter Labouchere, Bridges of Hope,
Zimbabwe
This workshop will focus on experiential
learning through a series of activities
using participatory story telling, forum
theatre and other fun, interactive
techniques to address issues around
HIV/AIDS prevention, testing, stigma,
support and positive living. These
activities will be interspersed with brief
explanations and discussion of the
concepts and behavior change
techniques underpinning their design,
and how to adapt and use them to
achieve greatest impact with different
target groups and contexts. The
activities may include:· A drama sketch
involving audience members as
characters such as White Blood Cell,
Infection, HIV, and ARV to clarify issues
around infection, progression and
treatment of HIV.· A form of Forum
Theatre, derived from the ideas of
Augustus Boal in ‘Theatre of the
Oppressed’, adapted and simplified so
that the skills to use it effectively can be
easily taught and transferred.· Walking
the Bridges to your Future Island. This
creates a metaphorical experience of
using Absitnence/Faithfulness and/or
Condoms (balancing on narrow bridges)
to avoid HIV and other STIs (crocodiles
in the water), stay healthy and attain
desired goals and dreams in life (reach
the island.)· A participatory story telling
technique using colorful card characters.
These activities are part of the Bridges
of Hope HIV/AIDS education package,
now being used in over 50 countries
worldwide with NGOs, faith based
organizations, businesses, youth,
community, family and other groups.
Using these activities in their global
Living with HIV Campaign, Standard
Chartered Bank won the 2003 Global
Business Coalition on HIV/AIDS Award
for Excellence. Some of these activities
and concepts also feature in the
JHU/CCP Journey of Hope package, a
component of Ghana’s national Stop
AIDS Love Life Campaign. Further
information available on
www.bridgesofhope.info .
Mass Media and Beyond: Tuesday 28 September, 15h45-17h15
The potential of comics
as a mass market
medium for Africa
Audience resonance:
Merging theory, context and local
perspectives in drama scripting
Folk media as a means
of EE and community
motivation
Lee Hartman and Oliver Power, Strika
Entertainment (Pty) Ltd, South Africa
Pumla Ntlabati and Kevin Kelly, CADRE,
South Africa
Nester Theuri, Family Programme
Promotions Services (FPPS), Kenya
Strika Entertainment (Pty) Ltd was
started in early 2001 with the launch of
the Supa Strikas comic. Three years
later, Supa Strikas is now the biggest
soccer publication in Africa, with over 1
million copies distributed across seven
countries (South Africa, Namibia,
Botswana, Zambia, Kenya, Uganda,
Nigeria) every month. The aim from the
outset was to find a print media model
that would thrive in Africa and in other
developing countries - something that
would be entertaining, would appeal to
businesses as a communication vehicle,
and would also have the potential to
deliver social and developmental
messages. It was decided that comics
drawn in a real life style would be the
perfect medium to use. The appeal of
comics is universal and it has been
proven to be an addictive medium the
world over. The one continent that has
never developed a homegrown comic
industry is Africa, although there is little
question it could benefit from the
medium. It is cost effective, entertaining,
and does not require a huge level of
literacy. The visual medium used to
create Supa Strikas has since attracted
attention from large corporations,
governments and social entities who
instantly recognised its huge potential
for communicating issues to semiliterate, English-as-second-language
audiences. Using a visual-based based
medium to create compelling stories and
characters has proven to be both
effective and entertaining. It allows for
strong messages to be sent out in a very
relevant and meaningful way.
The process of engaging members of
the target audience in the development
of a youth television drama series (Tsha
Tsha) is described. This involved focus
groups to: develop understanding of the
characters and the dynamics of the
relationships between them; test the
plausibility of drama events against the
reference point of life in a small town in
the Eastern Cape; and assess the appeal
of the script to the target audience. The
first part of the paper explores the
facilitation challenges involved in this
activity and highlights key learnings
about use of focus groups for this
purpose. A theoretical perspective on
the attempt to build audience
resonance is provided, which utilises key
ideas from the work of Paulo Freire and
Augusto Boal, whose ideas have been
influential in the fields of critical
pedagogy and participatory theatre in
the developing world.The second part of
the paper points to the
incommensurability between mass
media forms of delivery and the
theoretical framework used to explain
the use of participatory methods for
developing the drama, as described in
the first part of the paper. A theoretical
rapprochement is suggested, which has
implications for how we develop scripts
for use in mass media productions.
Some of these implications are
described and it is suggested that many
of the challenges and problems faced in
the unsettled exchanges between the
production company and the research
organisation that produced the drama,
are explained as a failure to identify and
address these issues.
Family Programmes Promotion Services
(FPPS) Information, Education and
Community folk media was adopted to
disseminate family health messages,
family planning, adolescent reproductive
health, nutrition, environmental health
and maternal child health. The approach
was to use entertainment in the form of
poetry and verse speaking, storytelling
drama, skits, role plays, song and
dance. The basic principle of
communication through folk media is to
maximise perception, since information
is received in a social context in terms of
language, cultural norms, venue, needs
and community members’ artists. It is
easier to initiate folk media activities
where there is a project base (school,
church, village or organised group) as
this helps in getting support and people
who are willing to participate in the folk
media activity. Formal and informal
community leaders must be involved for
the activity to gain support. It is
important for them to understand the
goals of the activity and their role in the
activity. Folk media offers many
opportunities to change attitudes and
behaviour and to educate communities
on issues related to social, health and
development aspects. The paper will
analyse the objectives achieved through
use of folk media, the process of group
organisation, development of messages,
production and dissemination of the arts
and conclude with reflections on
problems and requirements for
institutionalising the strategy in use of
folk arts for development purposes.
Research and EE: Tuesday 28 September, 15h45-17h15
Pathways to change:
Integrating research and
theory into EE
Maungo Mooki, CDC, Botswana, Nicola
Harford, CDC, Zimbabwe and Joseph
Petraglia, Global Health Communications,
USA
Developing and using behaviour change
communication tools to help ensure that
32
characters and storylines reflect both
theory and research in an entertainment
education radio serial drama used to
change HIV/AIDS-related behaviours.
CDC behavioural scientists have
developed a behavior change strategy
called MARCH: Modeling and
Reinforcement to Combat HIV/AIDS.
MARCH consists of two key
components: modeling through an
entertainment-education long-running
radio serial drama (RSD), and
reinforcement through interpersonal
reinforcement at the community level. As
MARCH is based in behavioural science
and research, it is important that the
implementers of the strategy – especially
the serial drama’s scriptwriters – are
introduced to key concepts from sociocognitive and communication theories,
and formative research findings from
country assessments. To assist them in
this orientation, a set of tools have been
developed entitled Pathways to Change.
33
TUESDAY
The first tool, the Pathways to Change
Game, is used together with formative
research data to incorporate barriers
faced by a specific character in the
process of adopting their behaviour
change. The use of this tool ensures
writers construct storylines that are
interesting and compelling. After the
Game, the Pathways to Change Chart is
introduced. The Chart helps scriptwriters
keep track of a character’s stage of
change through combining behavioural
research with behaviour change theory.
The last set of Pathways to Change
tools help scriptwriters ensure that the
behavioural theory and research are
actually reflected in the words that
characters in the serial drama speak.
The tool consists of a Macro Chart that
plots the long-term behavioural
trajectory of the role model character; a
Micro Process that uses the concept of
a “speech act” to ensure that specific
types of behaviour change cues are
present in the dialogue; and a
Coordination Chart that allows
scriptwriters to plan and record how
speech acts to further the behavioural
trajectory. In early scripts of
Makgabaneng, when the tools were not
used, it was difficult to track the
character’s trajectory and as such the
story was not always believable, even
confusing – not only to the listeners but
to the scriptwriters themselves. In
Mopani Junction the focused use of
Speech Acts from midway through
production, helped ensure that
behaviour change concepts were
modeled appropriately. Any project that
seeks to use stories to help individuals
change behaviour can benefit form the
use of these relatively simple and
effective tools that integrate theory and
research in the creative process of
scriptwriting.
Caring about what
happens in Tsha Tsha:
A theory-based evaluation of a TV
drama in South Africa
Larry Kincaid, JHU, USA,, Kevin Kelly and
Warren Parker, CADRE, South Africa
Tsha Tsha is a 26-part television drama
series broadcast by SABC in 2003-2004.
The drama is set in Lubusi, a fictional
town in the Eastern Cape, and features
the lives of four 20-something young
men and women as they cope with the
problems of adulthood, poverty,
relationships, sex, and HIV/AIDS. The
drama reached 1.8 million viewers per
week (LSM 5+) and achieved an
audience share of over 50%. The drama
was evaluated by means of a
representative, longitudinal survey of 756
34
PROGRAM
men and women ages 16-26 living in
Vosloorus (Urban – Gauteng),
Grahamstown (Small town – Eastern
Cape) and Obanjeni (Rural – KwaZuluNatal who were interviewed after
broadcast of the first 4 episodes and
after all 26 episodes were broadcast.
Preliminary research by CADRE showed
that young people in three areas of
South Africa who watched the drama
had more positive attitudes towards
HIV/AIDS. Viewers compared to nonviewers were more likely to have had an
HIV test or intend to get tested, and to
have decided to be faithful to their
partner. This presentation examines why
some viewers were affected by watching
the drama more than others. According
to drama theory, confrontation among
characters in a drama leads to an
emotional response, cognitive
reorientation, and character change as
the drama unfolds. Convergence theory
of communication predicts that audience
members who perceive the change in
characters with whom they closely
identify will be influenced to change their
behavior (Kincaid, 2002). Three
quantitative scales were used to
measure identification in terms of (1)
perceived similarity to each character, (2)
how much one wants to be like each
character, and (3) how much one cares
about what happens to each character.
Statistical analysis confirmed that
attitude change towards HIV/AIDS was
greater among viewers who identified
more strongly with one character in
particular, Boniswa, described by the
script writers initially as “introspective,
bookish, but whose heart and mind
don’t always follow the same path.”
Viewers rated Boniswa high on qualities
such as confidence, honesty, concern
about others, being deep rather than
shallow, and low on self-centeredness.
The presentation concludes with a
discussion of the implications for the
evaluation of EE dramas and for the
design of future dramas.
PROGRAM
Results from a
preliminary evaluation of
the Makgabaneng radio
serial drama in
Botswana
Katina Pappas-Deluca, CDC DRH/NCCDPHP,
USA. Presenter: Joseph Petraglia, Global
Health Communications, USA
The objective of the study was to
evaluate the reach and early impact of a
radio serial drama on HIV knowledge,
attitudes, and behaviours in Botswana.
The importance of behaviour change
strategies to promote behaviours that
prevent infection and mitigate the effects
of HIV and AIDS has been recognised
for sometime- Makgabaneng is a weekly,
nationally broadcast entertainmenteducation radio serial drama aired in
2001 to support HIV prevention and care
efforts in Botswana. To assess
preliminary impact on knowledge,
attitudes, and behaviours, a sample of
15-49 year olds Makgabaneng’s primary
audience was randomly selected from
among the most populous health
districts in Botswana approximately 18
months after the program first aired (N=
807). 71% of respondents reported
having ever listened to Makgabaneng
and 45 % were committed listeners
(listening one or more times/week).
Youth (15-24 years) were more likely to
be committed listeners than adults (2549 years). Committed listeners were
significantly more likely than all other
respondents to report all 3 ABC’s
(abstinence, being faithful and condom
use) as strategies to prevent HIV (p<01)
and were significantly more likely to
correctly identify modes of mother to
child transmission (p<01) and to name
use of AZT and avoidance of
breastfeeding as strategies to prevent
mother to child transmission (p<01).
Weekly listeners were also more likely
than non listeners to report intentions to
be tested for HIV and non listeners to
report intentions to be tested for HIV and
non-stigmatising attitudes toward those
living with HIV (p<05). Results were
maintained during multivariate analyses
controlling for demographics and radio
access. To be effective, entertainmenteducation programs must first attract a
large and loyal audience. With 45% of
the target audience from many of the
largest health districts in Botswana as
committed listeners, Makgabaneng has
the potential to have an enormous
impact on HIV-related attitudes and
behaviours. Findings related to
knowledge of modes of transmission
and of prevention modes.
Mass Media and Beyond 15h45-17h15
Pakistan: Street theatres ‘déjà
vu’ side helps carve out
representative communication
strategies to educate women against
domestic violence
Zahid Hussein and Shagufta Zahid,
Sustainable Resource Foundation (SuRF),
Pakistan
Street theatre, rural theatre or roving
theatre is a name given to a group of
performing artists who stage
performances in city streets, villages or
keep moving from one place to the
other. The basic premise with all three is
the same; not many props to bother
about, stage dramas representing
research based reality of domestic
violence against women, involve the
audience interactively, and to draw out a
basis for communication intervention
strategies based on the nature, and
contents of the interaction with the
audiences. Based on principles of “natak
(that goes back to Kalidasa) or drama, a
thousands of years old tradition in the
subcontinent, this type of theatre
performance, often done al fresco,
engages the target groups in a dialogue,
problem-posing reflection and
conscientisation, often without referring
to Paulo Freire’s principles of social
change or the actors/producers being
unaware of Freirian principles. As the
performance unfolds, trained observers,
often women, carefully watch the
expressions and body language of
women audience and later talk to them
about the relevance between drama
contents and their own experiences.
Carefully conducted narrative analysis
techniques are usually employed to talk
these women. Intervention strategies,
based on these personal experiences,
are then carved out for each participant!
Although highly local in approach, these
strategies get a big boost if they are
supported by communication interfaces
from public meetings, social
mobilization, and sometimes mass
media. So far, this strategy has been
successfully employed in various parts
of the Pakistani province Punjab where
violence against women is at peak
because of retrogressive feudal social
hierarchy not necessarily confined to the
rural settings only.
Tikambe! Let's talk about it: A
video that opens the community to
issues of stigma and discrimination
Uttara Bharath Kumar, Johns Hopkins
University, Zambia Integrated Health
Programme, Zambia
In an environment where HIV prevalence
is about 17% (Zambia DHS 2001/02),
few people consider themselves at the
risk of contracting HIV. This is
compunded by the unwillingness of
people to talk about it openly. Stigma
and discrimination against those infected
has increased the silence around the
disease and limited those who wish to
know the HIV status through VCT. The
need is great. In Zambia, for positive role
modelling by those who chose to know
their status to encourage others to
follow suit. 'Tikambe' or 'Let's Talk
About It' is one of the first Zambian
initiatives to tackle stigma and work to
decrease the silence around HIV/AIDS.
This film provides a personal and
compelling portrait of people who are
ordinary in that an average ZAmbian can
relate to them, but extraordinary in their
courage to share their story of discovery,
disclosure and triumph. Two 15-minute,
documentary stories, 'Banja ya Yengwe'
(Story of the Yengwe Family) and
'Harriet's Story', provide moving portrats
that unlock emotions among the viewers
and open up their thoughts. the key
messages from these 'Real Life Stories'
include the benefits and advantages of
compassion and support from family and
friends for those affected and infected
as well as the importance of knowing
and sharing one's status.The video is
accompanied by a discussion guide. The
premiere of Tikambe was attended very
well by a great number of governmental
and NGO partners. The distribution of
the video has been widespread and the
feedback so far is that it is well-received.
A second round of distribution will take
place shortly to ensure most of the
organisations around the country have a
copy to use. A number of the clinics
around the country have recently been
equipped with TVs and VCRs to show
health videos in the waiting areas.
Tikambe has been distributed also to all
those clinics and is played daily.
Namibia and Malawi have shown interest
in using the videos in their countries.
The request needs to be followed up to
get more use from this effective tool.
Selling Safety:
Marketing road
safety in South Africa
Mark Rieker, University of KwaZulu-Natal,
South Africa
South Africa has an abysmal road safety
record, with an average of 10 000 people
killed and 150 000 people injured on the
roads annually. This paper will trace
entertainment education’s and social
marketing’s contributions to road safety
initiatives internationally, and then
discuss their potential in the South
African context. A description of the
state of media interventions in South
Africa in the field will be given, as well
as looking at the potential role of ICTs in
penetrating into populations hitherto
hard to reach. Entertainment education
initiatives have been effective in
promoting social change in South Africa.
Soul City and Soul Buddyz evaluations
show promising results from the ongoing
series. To this end, an argument for the
need for more focus to be put on road
safety in EE will be presented. A current
project using “action kits” with
behavioural triggers for learner drivers
will be discussed and some of the more
exciting communication channels
explored. This project uses different
media such as Internet, CD ROMs, email
notifications and SMS technologies to
promote a pilot road safety brand. If
successful, the “action kit” concept can
be further developed and rolled out at
the provincial level to reach a large
number of learner drivers. South Africa is
a unique and disparate country and the
need for innovative and effective
messaging is imperative. This paper will
try to generate thought on the issue
while maintaining distance from the
technical and political considerations
which, while necessary, often doom
projects to obscurity.
35
TUESDAY
PROGRAM
PROGRAM
Participation and EE Workshop , 15h45-17h15
Introduction to simple
puppetry techniques:
Participatory puppet projects for
classroom and community activities
Brigid Schutz, arepp:Theatre for Life, South
Africa
arepp: Theatre for Life conducts
specifically designed training projects to
provide opportunities for capacity
building, development, and skills sharing
for organisations interested in learning
about our activities, methodology and
operating systems. These organisations
may already be established in the field of
edutainment, or may be looking to
incorporate the medium into their other
activities. The training team offers
various courses, which are planned
according to the needs and resources of
the organisation requesting it. Puppets
communicate clearly, plainly, quickly,
powerfully and directly using language,
imagery and visuals. Puppets make
contact instantly and seldom need to be
explained. Because they have no life,
baggage or agenda of their own,
puppets allow people, whether watching
or using them, to imbue them with their
own fantasies, take them at face value
and responding spontaneously.
Puppetry, if used in the right situation,
has the ability to transcend the barriers
of education, language, age, race and
gender. The power of the puppet lies in
its fascinating nature, the compelling
way in which it attracts and sustains
attention, and its independence from
human associations. Puppetry is visual,
interactive and therefore memorable. It is
a deeply magical and powerful medium
of education. arepp: Theatre for Life will
Tours: Wednesday, 29 September
give a participatory workshop on three
simple puppet techniques for use in
educational activities for children.
Participants will gain a broad
understanding of three types of
puppetry, their appropriate use, design
and construction and performance. They
will be able to use these techniques in
their own work, or teach children to do
so, thus stimulating manual, visual,
creative and language skills of young
participants.
Pre-Assemble for site visits
08h00-08h15
Site visits
Departs Lord
Charles at
08h30
Departs Lord
Charles at
09h30-10h30
Departs Lord
Charles at
10h30-11h30
Athlone
Community Hall
About Us: Playing for Keeps.
10h00-11h00
AIDS ACT.
University of the
Western Cape
A half an hour interactive
performance followed by discussion
for University students around issues
of HIV/AIDS.
09h30-10h30
Takalani Sesame Meet & Greet.
Pinksterpark Hall
(Next to the N2 to
Sir Lowry’s pass)
A chance for learners aged 3-9 to
meet Kami and Zuzu from Takalani
Sesame up close and personal.
Please note that the characters do
not speak - the handler will interface
with the children on behalf of the
characters.
08h30
Departs Lord
Charles at
09h30-10h30
08h30
Garden Village
Community Hall
Departs Lord
Charles at
No Monkey Business: Inside Out.
arepp: Theatre for Life with Child Welfare
Puppet show which deals with issues
of HIV/AIDS and basic hygiene. This
show is targeted for the grades 1-4 or
6-10 year old learners.
08h30
09h30-10h30
08h30
University of Cape
Town Campus
36
WEDNESDAY
arepp: Theatre for Life with Child Welfare
A half hour performance followed by a
half hour facilitated discussion with
the learners. It deals with issues of
HIV/AIDS and issues around self
awareness, esteem and image and
sexuality awareness. This show is
targeted for the grade 5-7 or 11-14
year old learners.
JAPAN: A half an hour forum
theatre piece followed by
discussion with the audience.
University of the Western Cape
Takalani Sesame with Children from the Chris
Nissen Informal Settlement (Holiday Community
Program)
DramAidE with High School Children from the
Garden Village and surrounding Community
The play asks questions about
issues of gender, culture and
women's rights.
Producing Edusoaps as part of
teaching media at the University
of Cape Town: Discussion forum
Ian Glenn, University of Cape Town
Winelands, Cape Town and
Mountain, Robben Island,
Township, Whale Watching
DramAidE with High School Children from the
Garden Village and surrounding Community
12h30-14h00
Lunch
14h00-18h00
Half day tours:
18h00-23h00
Free evening in Cape Town
37
THURSDAY
PROGRAM
Thursday 30 September: Research and EE
09h00-09h15
Day
Overview
Research and EE
Garth Japhet, Soul City, South Africa
09h15-10h45
Plenary
Session
EE: Are the impacts real?
Session Chair: Garth Japhet, Soul City, South Africa
Tea
11h00-12h30
Research
and EE
Venue:
Ballroom
11h00-12h30
Indra de Lanerolle and Krisen Pather, Ochre, South Africa
Sue Goldstein and Esca Scheepers, Soul City, South Africa
Larry Kincaid, Johns Hopkins University, USA
12h30-14h00
Lunch
13h30-15h00
Research
and EE
Venue:
Ballroom
Mass Media
and Beyond
Venue:
Somerset 1
11h00-12h30
Research
and EE
Venue:
Somerset 2
Pumla Ntlabati
Making learning come alive:
Liz van Breda, Department of Drama, University of
Cape Town, South Africa
How to use theatre in education as a
method to entertain and educate
Session Chair:
Kevin Kelly
Meeting the challenge of
research with very young
children: A practical outline of
Ann Kushlick, Ochre Communications, and Glynis
Clacherty, Clacherty & Associates, South Africa
Emma Durden
Under the green umbrella:
Social dramas for health
Mohammed Shajahan and Manishita Ghosh,
Bangladesh Center for Communication Programs
(BCCP), Bangladesh
Film and the promotion of
HIV/AIDS prevention among
military personnel in Tanzania
and Kenya
William Brown and Benson Fraser, School of
Communication and the Arts, USA
Measuring the impact of TV
storylines and community
outreach to educate the
community about health in the
USA
Vicki Beck and Grace Huang, USC Annenberg Norman
Lear Center, USA
Radio brings new skills to front
line health volunteers and new
behaviors to marginalised
communities
Diane Summers, Center for Communication Programs,
Nepal
Dramatic devices to deliver
health information: The case of
Gerry Power, BBC World Service Trust, UK
Session Chair:
Joshua Ogada
Mass media & beyond:
Penny Dlamini, Soul City, South Africa
methodologies used in pre-testing of
the Takalani Sesame HIV/AIDS
television and radio programmes
'Taste of Life'
Mass Media
and Beyond
Venue:
Somerset 1
Exploring the links and expanding the
impact
The role of puppetry in the
dissemination of culturally
sensitive messages in
HIV/AIDS associated behavior
change communication
Phylemon Odhiambo Okoth, Family Programme
Promotion Services/ Community Health Awareness
Puppeteers, and Timon Choro, Africa Alive, Kenya
Impact of a television drama
series on the community where
it is produced
Andile Tobi, Pumla Ntlabati and
Kevin Kelly, CADRE, South Africa
13h30-15h00
Mass Media
and Beyond
Venue:
Somerset 2
Session Chair:
Lynn Harter
Tuning into different
wavelengths: Listener club research
Suzanne Fisher, La Benevolencija, Rwanda
Pumla Ntlabati
Femina Hip: Creating a multimedia
‘edutainment’ lifestyle brand
Minou Fuglesang and Charles Mtoi, East African
Development Communication Foundation (EADCF),
Tanzania
Enter-Educate and the Ku
Saurara success story
Ijeoma Nwaloka and Bolanle Lasisi, African Radio
Drama Association, Nigeria
Radio's educational role in
post-conflict Afghanistan
Abdul Sattar Hayat, Ministry of Education, Afghanistan
Session Chair:
Diane Summers
Sustainable EE intervention
Garth Japhet, Soul City, South Africa
When the broadcast ends, the
programme is not over:
Adele Mostert, ABC Ulwazi, South Africa
Friends 4 life: Effects of radio on
Esta de Fossard, JHU-CCP, USA
The need for credit-based training in
the skills and art of EE
Participatory Research
Methods- from villages to
boardrooms
Session Chair:
Maximising the effectiveness of EE
programmes at community radio level.
for effective Rwandan reconciliation
radio programmes
Academics to application:
13h30-15h00
Serena Rix, Centre for International Communication,
Macquarie University, Sydney Australia
Participation
and EE
Workshop
education
Charles Kalima and Nokuthula Matyeshana, Daimler
Chrysler, South Africa
Session Chair:
Andile Tobi
Theatre for education
Syed Rahman, Tree Foundation, Bangladesh
Venue:
Somerset 3
15h00-15h15
38
Introduced by
Session Chair:
13h30-15h00
11h00-12h30
Participation
and EE
Workshop
Venue:
Somerset 3
Venue:
Ballroom
10h45-11h00
PROGRAM
Tea
39
THURSDAY
15h15-16h45
Research
and EE
Venue:
Ballroom
PROGRAM
Session Chair:
Phyllis Piotrow
Impact study: The nature of
attempting to analyse the
impact of EE
Gordon Bilbrough, arepp: Theatre for Life, South Africa
Positioning EE for
second-order change
Nagesh Rao, Sumya Pant and Arvind Singhal, Ohio
University, USA
PROGRAM
Research and EE: Thursday 30 September, 11h00-12h30
Under the green
umbrella:
Social dramas for health
Some Neuro Linguistic
Programming (NLP) theory
and concepts, and their
application in participatory EE
15h15-16h45
Mass Media
and Beyond
Venue:
Somerset 1
Session Chair:
George Ayoma
Urunana: Edutaining soap
opera in Rwanda
Samuel Kyagambidwa and Irene Josephine
Uwamariya, Health Unlimited, Rwanda
Using the internet to facilitate
social change
Tashi and Luke Tagg, TashiTagg, South Africa
J’ai Mes Raisons: Participation
Eliot Osborn, Project Troubador, Stuart Leigh,
Real World Foundation and Arsene Gbaguidi,
Centre Afrika Obota
(primary & vicarious) in an HIV/AIDS
Music Mass Media Campaign
15h15-16h45
Participation
and EE
Venue:
Somerset 2
Peter Labouchere, Bridges of Hope, Zimbabwe
Session Chair:
Carol Browne
Puppets in EE: Universal principles
Marie Kruger, University of Stellenbosch, South Africa
and African performance traditions as
a model for interaction
Stimulating participation in
human development through
theatre: A case study of mobile
Yacoub Adeleke, Mobile Laboratory Theatre, Nigeria
laboratory experiments
15h15-16h45
Participation in media for
conflict transformation
Lena Slachmuijlder and Aloys Niyoyita, Studio Ijambo,
Search for Common Ground, Burundi
Participation
and EE
Workshop
Introduced by
Nirupama Sarma
Identities, relationships and
responsibilities: Participatory media
Mkhonzeni Gumede and Juju Mlungwana, DramAidE,
South Africa
Venue:
Somerset 3
in the exploration of gender and
HIV/AIDS behaviour amongst South
African youths
18h00-19h00
Free Time
17h00-18h00
Closing Panel
Discussion
Venue:
Somerset 1,2,3
18h00-19h00
Short Break
19h00
Farewell Dinner
Venue:
Ballroom
40
Closing Panel Discussion
Chair: Garth Japhet
Arvind Singhal
Jane Bertrand
Mohammed Shajahan
Mohammed Shajahan and Manishita Ghosh,
Bangladesh Center for Communication
Programs (BCCP), Bangladesh
With less than 40% of the population in
Bangladesh having access to basic
helath and 75% of pregnant women not
receiving antenatal care, improvements
in amily health are well needed. Two
highly popular Entertainment Education
serial dramas recently produced aim to
address these issues. Each serial
weaves in health topics wih a compelling
storylne to yield popular, edcational
drama. Highlighting he key lessons
learned and he impact of these social
dramas, ‘Under the Green Umbrella:
Social Dramas for Health’, a docmanary
video, succinctly illustrates the EE
development process and will be shown
to EE participants as part of the EE
presentation. Through interviews with
key players, the scripwriter, actors,
viewers and field workers along with
clips of the two most popular dramas,
‘Shabuj Shathi’and ‘Shabuj Chhaya’, the
video brings to light the value of EE
drama and how others can benefit from
this technique. Christy Kelly, producer
with technical assistance from
Bangladesh Centre for Communication
Programmes (BCCP) and John Hopkins
University Centre for Communication
Programmes (JHU/CCP). Sponsored by
the Ministry of Family Health and Welfare
of Bangladesh wih funding from he
United States Agency for International
Development (USAID). According to
formal evaluation research the drama
series were both extremely successful in
influencing audience attitudes and
behaviours related to health. Those
serials were major television hits at that
time. Overall popularity of the drama
was impressive, with 90% of viewers
surveyed preferring the drama to ant
other TV programs. A national survey of
7 200 men and women in rural and
urban areas revealed a hih level of health
knowledge among those exposed to the
dramas, compared to those who were
not (59% vs 23%). Overall health
knowledge was significantly related to
watching the drama after controlling for
socio-economic characteristics and
other sources of health knowledge.
Visiting a health/famly planning servie
facility and use of a modern
contraceptive were both significantly
related to recall of he ‘Shabuj Shathi’
television drama, while watching he
‘Shabuj Chhaya’has he strongest
reationship with knowledge of HIV/AIDS,
followed by knowledge about nutrition,
childhood disease and safe moherhood.
74% of those who watched ‘Shabuj
Chhaya’, became aware of HIV/AIDS
compared to 21% who did not watch.
The quiz questions at the end of each
episode reiforce messages and spark
further reflection by viewers on select
health topics. As a result of the 13
episode ‘Shabuj Chhaya’, BCCP
received unprecendented 600 000 fan
mail leters. The success of these enteredu dramas also lead to paid
sponsorship from private companies.
Film and the promotion
of HIV/AIDS prevention
among military personnel
in Tanzania and Kenya
William Brown and Benson Fraser, School of
Communication and the Arts, USA
During the past three years, Tanzania
and Kenya have been using the
entertainment-education communication
strategy through film to promote
HIV/AIDS prevention among military
personnel. Military personnel in East
Africa are among the highest risk group
for HIV because of their mobility, long
periods away from spouses or
committed partners, and proximity of
commercial sex workers to military
installations. Results of two studies
indicate that film can be an effective
means of increasing knowledge of HIV
transmission and AIDS, promoting
discussion among sexual partners of the
risk of HIV, increasing concern of HIV
transmission, and promoting abstinence,
monogamous relationships, and condom
use. The lessons learned using the EE
strategy in film are discussed as are
implications for future research.
Radio brings new skills
to front line health
volunteers and new
behaviors to marginalised
communities
Diane Summers, Center for Communication
Programs, Nepal
Radio brings new skills to frontline
health volunteers and new behaviours to
marginalised communities. “Sewa Nai
Dharma Ho” (Service is Religion) is a
weekly radio distance education serial
designed to strengthen the skills and
knowledge of Nepal’s frontline health
volunteers (FCHVs) – 40,000 women
who are largely illiterate, but who have
brought dramatic improvement to the
health status of Nepal’s predominantly
rural population. It is complemented by
“Gyan Nai Shakti Ho” (Knowledge is
Power”) - a weekly drama serial that
garners the needed community support
for FCHVs and promotes the adoption of
health-seeking behaviors at the
household level. Many behaviors that
underlie Nepal’s high maternal and
neonatal mortality rates and high unmet
need for family planning are deeply
rooted in tradition and cultural beliefs.
Highly participatory and interactive, the
radio serials have been welcomed in
communities as a “lamp in the
darkness,” including by those
communities that have been affected by
the escalating conflict situation. Radio is
an increasingly powerful medium to
remote villages as travel is restricted by
civil unrest. In response to the multitude
of different ethnic groups and languages
in Nepal, the radio serials are adapted
and translated into local languages – an
innovative step that has allowed health
messages to reach the most vulnerable
populations who have poor access to
health services and are most in need of
health-seeking behaviors. FCHVs
facilitate radio listener groups
established in the community, thereby
empowering women to be agents for
change in their own communities,
creating an enabling environment for
change, and linking vulnerable
populations to the government health
services.
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THURSDAY
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PROGRAM
Mass Media and Beyond: Thursday 30 September, 11h00-12h30
Mass media & beyond:
Exploring the links and expanding the
impact
Penny Dlamini, Soul City, South Africa
Mass media plays an important role in
shaping social norms and is a powerful
tool for social change. In South Africa,
mass media is a critical source of
information, a significant agenda setter,
and an agent for social change.The Soul
City Institute for Health and
Development Communication, the
internationally acclaimed South African
NGO, addresses health and
development issues by harnessing the
power of mass media to reach millions
of people. Its key vehicles, Soul City
(aimed at the general public) and Soul
Buddyz (aimed at 8-12 year olds and
their caregivers), have at their core a
prime time television drama,
accompanied by radio drama
programmes and information materials.
The edutainment methodology used by
the Institute weaves social issues into
prime time entertainment programmes
and print materials. Through this, Soul
City empowers its audiences to make
healthy choices as individuals and
communities. The Soul City project has
become a household name in SA, with
its combination of media reaching
millions of people. As a result of its
popularity and the positive contribution it
is making to post-apartheid South
Africa, the project has gained a high
level of credibility in the spheres of
government and civil society. This has
allowed the project to expand on its
original function and engage increasingly
in advocacy work, focusing on
appropriate policies and legislation
necessary to create an enabling
environment for social change and the
protection of human rights. This paper
presents how the Soul City project has
been used as a springboard to mobilise
communities around social justice and
human rights issues. As part of the sixth
series of the Soul City project and the
third series of the Soul Buddyz project,
the Institute recently partnered with the
Alliance for Children’s Entitlement to
Social Security on an awareness
campaign around children’s rights to
social security. The objectives of the
campaign were to: increase the
awareness of grants within the general
public and the intended beneficiaries of
grants; facilitate increased numbers of
eligible people, particularly children
registering for the grants to which they
are entitled; increase the numbers of
beneficiaries, particularly children who
actually access the grants to which they
are entitled; and hold government
42
accountable to its promise to provide
social security to those most in need.
This paper outlines the way in which the
Institute has combined its edutainment
vehicle with outreach and advocacy and
presents the findings of an independent
evaluation conducted to assess its
impact.
The role of puppetry in
the dissemination of
culturally sensitive
messages in HIV/AIDS
associated behavior
change communication
Phylemon Odhiambo Okoth, Family
Programme Promotion Services/ Community
Health Awareness Puppeteers, and Timon
Choro, Africa Alive, Kenya
Numerous strategies and techniques
have been used to create awareness,
educate and inform the people of the
Eastern Africa region on the causes,
traetment and prevention of
HIV/AIDS/STDs. Thus far there has been
little evidence of behaviour change.
Puppetry, though no longer a traditional
medium of communication in the region,
has proved effective in deleivering
mesages on sensitive topics such as
HIV/AIDs, STIs, gender issues, female
gental mutilation, environmental
conservation, hygiene, adolescent
reproductive health, peace creation etc.
Several countries around the world have
successfully adopted puppetry as an
entertainment tool, Kenya included. The
main aim of this presentation is to share
experiences, contribution and the extent
of appreciation of puppetry and folk as
media for communicating health and
development messages in Kenya. The
presentation will provide delegates with
an opportunity to gain insight into
utilizing this art form in addressing social
changes in communities. We analyse
successes, approach and crucial factors
for the troupes sustainability,
acceptability and effectiveness.
Impact of a television
drama series on the
community where it is
produced
Andile Tobi, Pumla Ntlabati and Kevin Kelly,
CADRE, South Africa
The South African television drama
series Tsha Tsha, is set in a fictional
small town, but the story is developed
with reference to the people, places and
stories of a real place. Early research
into the characters and story took place
in this location, the series was partly
recorded in the town, many of the town’s
people acted as extras and the partial
production of the series in the town
represented an input into its small
economy. We set out to investigate
what this means to the town and people
by interviewing a range of people in the
town, and key people involved in the
production of the series. We discovered
a contrasting set of discourses around
the meaning of using this town as a
location and context for the drama, as
represented in the eyes of the
community and the producers. There are
many positive elements to the fact that
the series was located here: it has
created temporary employment in an
economically depressed environment; it
has given the small town a national
profile; it has given publicity to some of
the small businesses in town; it has to a
limited extent created a sense of pride
that the town was chosen for the
production; and it has created
something of a sense of hope in a world
where there is little opportunity.
However, these and other positive
elements created expectations and
aspirations that exceeded the
opportunities that were to be had. The
production partners engaged with
community organizations at various
points and efforts were made to provide
opportunities, but they saw the place as
first and foremost a location and context
to be drawn on for developing the story.
Only to a limited extent did they see
their task as meeting the needs of, or
assisting the community in question.
Their commitment was a broader one,
given expression in the objectives of the
series. Whilst it is easy to dismiss the
aspirations of the community as
unrealistic given the realities of
production, we try in the presentation to
make sense of their expectations and
the mismatch with the realities of
production. We argue that the mismatch
is inevitable in this context and provide a
theoretical framework for understanding
this. Finally, we attempt to lay out some
foundational principles for managing
situations like this, based on the
experiences of the community and the
production partners.
Research and EE: Thursday 30 September, 11h00-12h30
Tuning into different wavelengths:
Listener club research for effective
Rwandan reconciliation radio
programmes
Suzanne Fisher, La Benevolencija, Rwanda
La Benevolencija, a non-governmental
organisation based in Holland, has
launched a communications project in
Rwanda based upon the theories of
psychologists Prof. Ervin Staub and Dr.
Laurie Pearlman. The project aims to
develop understanding of the roots of
group violence in the service of
prevention, trauma healing and
reconciliation. It aims to contribute to
knowledge and attitude change through
two main activities: radio broadcasting
in the local language Kinyarwanda, and
participatory communications activities.
Audience research and audience
participation in message design were
deemed crucial in order to develop
realistic and relevant radio programmes
which were resonant with populations
who do not all share a common
agreement on the causes and impact of
genocide and who often have very
diverse attitudes towards issues such
as reconciliation. Research was carried
out with 13 listener groups, which were
established in each province of the
country. The method for choosing group
members to provide a diversity in
attitudes on issues relevant to
programme topics will be explained.
The presentation will focus upon two
main phases of listener group research:
KAP (knowledge, attitude and practise)
research and a pre-test of our radio
programmes. The presentation will
provide an overview of findings from the
KAP research and will explain how such
research affected the development of
radio programme content. How the
research process affected group socio
dynamics within the research team,
especially during the prison visits, will
also be briefly discussed. We will
conclude by providing an overview of
the radio drama pre test results and the
subsequent adaptations made to
programme content.
Academics to application:
The need for credit-based training in
the skills and art of EE
Esta de Fossard, JHU-CCP, USA
The use of EE for encouraging behaviour
change is gaining increasing attention
and use. If EE is to move forward as a
highly effective vehicle for social change,
it is time to offer adequate and
appropriate academic training in this
field. As Martine Bouman (The Turtle and
the Peacock) and others have
documented, there is currently difficulty
in encouraging the entertainment experts
(writers and producers) and the message
designers (the content experts) to work
compatibly and harmoniously together.
All parties need to acknowledge that EE
is a unique art form requiring specific
training and degree recognition. Two
areas of needed training are the
entertainment component and the
education component - not necessarily
in that order and not separated. Writers
of pure entertainment have the liberty to
express their ideas their own way. EE
writers do not, but must create stories
into which specific messages can be
blended for very specific audiences. The
art of writing and producing EE
programs must be learned if it is to be
practiced with increasing success.
Writers must work with the entire E-E
team to understand what messages
should be included and how. Suggested
topics for study for the entertainment
side of EE will be offered.
The education side of EE requires equal
training. Teachers in classrooms are
expected to be trained. No such
expectations are placed on those who
engage in EE. This lack needs to be
redressed. Teaching requires knowledge
of successful theories of education as
well as practical methodologies. EE has
an added dimension - knowing how to
teach through the media. For E-E to
move forward, we need carefully
constructed college level courses in the
art and science of E-E programming.
Perhaps this conference could begin
discussion on what such a course (M.EE)
would cover.
decades. It was developed by the
Institute of Cultural Affairs, an
international non-government
organization that operates in over 30
countries. The Technology of
Participation (ToP) brings forth creative
and innovative ideas from groups,
fosters deep conversations, builds
consensus, and harnesses diversity.It
can be used for large and small group
discussions and problem solving. The
method is structured so as to value
everybody’s contribution, to enable
groups to deal with conflict, and to pool
diverse contributions into meaningful
patterns. The presentation will give you
a taste of the method and directions for
further resources and information. It
draws on the example of the ToP
methods in rural Nepal, used to develop
a drama around the topic of alcholism,
and audience research for an EE video
for porters about altitude sickness.
Participatory Research
Methods: from villages to
boardrooms
Serena Rix, Centre for International
Communication, Macquarie University,
Sydney Australia
Understanding the audience is one of
the sacred keys to a successful
behaviour change communication
campaign. If you have limited time and
resources, how do you elicit relevant
responses from audience groups on
motivations, resistance points, cultural
beliefs? This interactive session presents
a workshop tool that enables you to
draw out information from diverse
groups, and arrange it in a short period
of time. It is a tool that is ideal for pre or
post production research. The
Technology of Participation is a
participatory method that has been used
in cultures around the world for two
43
THURSDAY
PROGRAM
PROGRAM
Participation and EE Workshop: Thursday 30 September, 11h00-12h30
Making learning come
alive:
How to use theatre in education as a
method to entertain and educate
Liz van Breda, Department of Drama,
University of Cape Town, South Africa
During the past eight years I have been
involved in teaching on a second year
course called ‘Drama and Theatre in
Education’ at the University of Cape
Town. In this course the students work
in groups learning to put together a
Theatre in Education programme on
subjects like sex education, drugs,
abuse etc. In 2004 we had three groups
of about 5/6 students per group who
chose to do a theatre in education
programme to celebrate South Africa’s
ten years of democracy. These
programmes, at the same time, served
to both educate children on the history
of South African during the apartheid
years as well as entertain them. The
children became part of the programme
acting as children either in a school
classroom during the time of Bantu
education or being told to sit in a
particular place because of their skin
colour. These programmes were all
based on fact. Although the content
may not be of interest to people all over
the world, the concept may.
Many countries, cultures and
communities have a story to tell and
don’t realize there is an audience.
Sometimes these stories are passed
from generation to generation and never
written down. Others stories are
personal and by telling them the
storyteller finds others who share the
same joy or sadness. Why not use
theatre to tell these stories? T.I.E. both
educates and entertains. It includes
audience participation where the
audience may play an active role or
they may just watch and then enter into
a discussion afterwards. They can play
themselves or be in role as someone
else. In order to present a T.I.E.
programme the participants need to go
through a process. Firstly they need to
agree on a subject and the target
audience. They then need to research
their subject. Once they have done this
they begin improvising round their
choices, using movement/mime to tell
their stories, maybe writing a poem or
song - using their own particular
strengths to put together a piece that
both educates and entertains. Once
they have a structure they discuss how
to include audience participation.
Research and EE: Thursday 30 September, 13h30-15h00
Meeting the challenge of
research with very
young children:
A practical outline of methodologies
used in pre-testing of the Takalani
Sesame HIV/AIDS television and
radio programmes
Ann Kushlick, Ochre Communications, and
Glynis Clacherty, Clacherty & Associates,
South Africa
Pre-testing EE interventions is critical to
ensuring they are on the right track,
allowing for refinement and changes if
necessary, and ultimately contributing
to an effective and relevant end product
- a product that meets both the
educational and entertainment
objectives for the audience it is
targeting. The younger the target
audience, the more difficult this pretesting process is. For very young
children (3-7 yrs of age) the task
becomes even more complex – not only
is one trying to assess a particular
media intervention’s success in
communicating educational messages,
but one is also having to do this in a
developmentally challenging context.
Pre-testing with very young children
requires specially developed processes
and tools. This presentation will
illustrate particular participatory
research approaches that have been
44
adapted for very young children, using
the introduction and development of the
HIV/AIDS curriculum in Takalani Sesame
as a specific example. The introduction
of this sensitive and difficult subject
(HIV/AIDS) for such a young audience
added to the complexities of the regular
Takalani Sesame pre-testing.
Researchers and fieldworkers not only
had to deal with the challenge of testing
with 3 and 4 year olds, but were also
faced with the challenge of assessing
interventions that dealt with a difficult
and stigmatised issue. The presentation
will briefly cover the reasons for
introducing HIV/AIDS educational goals
into the existing Takalani Sesame
curriculum, and then focus on the
testing of these goals with 3-7 year
olds. It will describe the principles
behind the methodology adopted and
describe the actual tools used for
testing. Examples will be taken from the
HIV/AIDS segments which are of
varying media formats, such as live
action, studio scripts or animation. The
presentation will also touch on how the
findings were fed back to production in
order to ensure a relevant, appropriate
and educationally effective Takalani
Sesame HIV/AIDS component.
Measuring the impact of
TV storylines and
community outreach to
educate the community
about health in the USA
Vicki Beck and Grace Huang, USC
Annenberg Norman Lear Center, USA
CDC and USC analysis of data (Beck
and Pollard) from the national Porter
Novelli Healthstyles Survey has shown
a consistent trend over three years
(1999 to 2001) among regular TV
viewers in the United States who report
they learn, discuss and take actions
after hearing about health topics in TV
storylines. Bandura’s social learning
theory also suggests that the
Entertainment Education strategy of
embedding health messages into
storylines of popular TV programs may
influence modeling of health promotion
behavior. In this presentation, we will
summarize and compare findings from
seven studies conducted between 2001
and 2004 that demonstrate the impact
of specific health content in
entertainment TV storylines on
corresponding knowledge, attitudes,
beliefs and behaviours associated with
the health topic. We will include
examples of additional media outreach
that was developed from storylines to
extend the public health messages to
other media formats, i.e. public service
announcements, talk shows, Web sites
and news stories on the health topic.
The impact of these additional efforts to
reinforce messages and educate the
community will be reported, including a
broad-based effort by a Spanishlanguage network in the United States.
Findings are based on storylines that
addressed HIV/AIDS, other sexually
transmitted diseases, cardiovascular
disease, smoking/cancer, breast cancer
and bioterrorism. All appeared in very
popular prime time and daytime dramas
and telenovelas that aired on major TV
networks and one Spanish-language
network in the United States during this
period. Findings are based on data from
the 2003 Porter Novelli HealthStyles
Survey, the Harvard School of Public
Health and Robert Wood Johnson
Foundation, the National Cancer
Institute’s Cancer Information Service,
the Centers for Disease Control and
Prevention’s National STD and AIDS
Hotline, and Telemundo Network. In
one group of studies, data will be
compared between exposed and nonexposed respondents. In a second
group of studies, pre- and post-test
data will be reported. And in the third
group of studies, hotline caller data will
be evaluated in terms of broadcast air
dates and times of public service
announcements accompanying TV
health storylines.
Dramatic devices to
deliver health
information: The case of
'Taste of Life'
maternal and child health. The drama,
which is fully researched, scripted,
acted and produced by a Khmer team,
employs a range of dramatic devices to
deliver health information to its
Cambodian audience. The presentation
will describe the results of the research
to pre-test the first four episodes of the
drama, propose an analysis of the
effectiveness of dramatic devices to
deliver health information, and outline a
working framework for health
communication that is based on
dramatic devices, rather than
“messaging.”
Gerry Power, BBC World Service Trust, UK
‘Taste of Life,’ the newest TV drama
produced by the BBC World Service
Trust, is set in a Cambodian nursing
college and the affiliated hospital. The
60-episode television drama is part of a
three-year multi-format media project
addressing issues related to HIV/AIDS,
sexual and reproductive health, and
Mass Media and Beyond: Thursday 30 September, 13h30-15h00
Femina Hip: Creating a
multimedia ‘edutainment’
lifestyle brand
Minou Fuglesang and Charles Mtoi, East
African Development Communication
Foundation (EADCF), Tanzania
HIP is a multimedia ’edutainment’
initiative in Tanzania operating through
different media vehicles, e.g. print, TV,
web, but also roadshows and
community visits. These all complement
and reinforce each other. This is a
communication strategy to encourage
open, positive talk about sexuality,
reproduction, lifestyles, lifeskills and job
opportunities. The long-term aim is to
create a healthy and ‘cool’ lifestyle
brand. HIP uses role models, humour,
photo-novels and drama, but is ‘reality’
and documentary-based. The editorial
material and story lines are generated
by the youth, who also contribute with
their questions, letters, and pose for
photographs. The aim is to give youth
‘voice’ and an opportunity to express
themselves, exercise their right to
participate in public debate and
ultimately get empowered. Participation
is a key strategy, as is partnerships. We
have set up close collaboration with
other NGOs, corporates and
government agencies, which work to
promote similar issues, for synergy and
pooling of resources. We invite other
organisations to contribute to special
columns in our products, contribute as
topic experts, and advertise their
services. Furthermore, we encourage
active use of our products in their often
more face-to-face oriented activities,
e.g. peer education, counseling. The
effect of HIPs message content is more
potent if the products are actively used
and debated by such mediators. The
challenge of HIP is to create, develop
and sustain a long-term healthy lifestyle
brand which mirrors youth culture, but
communicates healthy, constructive
information in an entertaining format
which will ultimately help to empower
the youth generation to better tackle
the many challenges of their future lives
in Tanzania.
Enter-Educate and the Ku
Saurara success story
Ijeoma Nwaloka and Bolanle Lasisi, African
Radio Drama Association, Nigeria
Ku Saurara! (Listen Up! in Hausa) is a
Johns Hopkins University/Center for
Communication Programs (CCP)
initiative in northern Nigeria. The Ku
Saurara! project is a multi-pronged
behavior change communication
intervention, comprised of 78 weekly
radio programs, advocacy and
community outreach activities in Phase
I (2000-2003), and advocacy,
community outreach, 52 new weekly
radio programs, and the production of a
youth-oriented feature-length film under
Phase II (2003-2005).The project, which
employs an entertainment-education
approach in all of its activities,
increases young people's access to
reproductive health information and
services, demonstrates life-skills in
making informed decisions regarding
mental and physical health, and
motivates positive behavior change in
Northern Nigeria young people ages 1024. The radio program especially
encourages positive parent - child
communication and greater willingness
among young people to seek clinical
care and counseling for reproductive
health needs. The African Radio Drama
Association (ARDA) has for the past 3
years been responsible for the
management, production, broadcast
and monitoring of the Ku Saurara! youth
radio variety show. Through partnership
on the Ku Saurara! project CCP & ARDA
have increased the capacity of many
Nigerian radio professionals--including
young people, to develop social change
radio programs using the entertainment
education approach.The main
component of the Packard-funded Ku
Saurara! project is a 30-minute weekly
youth radio variety show, presented in
Hausa by two popular youth hosts (one
male, one female). The Ku Saurara!
radio show includes music, drama,
interviews with health experts, vox-pop,
and a regular quiz competition. The Ku
Saurara! radio show is presented in a
45
THURSDAY
breezy and exciting way that has
captured the imaginations of Northern
Nigerian young people for the past 2
years. Studies at the end of the first
phase of Ku Saurara! showed that 43.8
percent, almost half of the people
exposed to the campaign subsequently
took some actions along the line of the
campaign messages of the radio
program. Some of the actions include
resolving to abstain from premarital and
extramarital sex, decision to use
condom, decision to continue listening
to the radio program, decision to visit a
Youth Serving Organization, resolution
to continue schooling, encouraging
others to do same, and to use a family
planning method, and adopting safe
sex practices. Also, an overwhelming
97.4 percent reported intention to
continue listening to the radio variety
program in future.
PROGRAM
PROGRAM
community. HIV/AIDS is the biggest
health problem and therefore is central
to the project. During peer educator
workplace sessions, a number of
employees ask questions on behalf of
community members. It became
necessary to not only educate DCX-SA
employees, but also their families and
friends. With about 94,000 listeners,
Link FM is a good platform to spread
health and well-being information to the
Radio's educational role in
post-conflict Afghanistan
Abdul Sattar Hayat, Ministry of Education,
Afghanistan
No abstract available at time of print
Theatre for education
Mass Media and Beyond: Thursday 30 September, 13h30-15h00
Garth Japhet, Soul City, South Africa
The Soul City Institute for Health and
Development Communication is a multimedia health promotion project that
uses entertainment-education
methodology to harness the power of
mass media for social change. The
project was established over ten years
ago and consists of two major vehicles:
Soul City Series and Soul Buddyz
Series. Both vehicles consist of awardwinning prime time television dramas as
well as radio dramas and printed
materials - all of which are implemented
in synergy for mutual reinforcement.
The Soul City series is now in its
seventh season, while Soul Buddyz is in
its third. While many mass media
entertainment-education programmes
have been broadcast throughout the
world, most tend to be once-off
initiatives. In contrast, the Institute has
managed to achieve two long-running
series that have become household
names in South African society. The
benefits of this are multifold – the
organisation does not have to
renegotiate with broadcasters and
funders each time it wants to address a
particular health and development
concern and it allows for audience
loyalty which helps establish high
audience ratings from day one of each
new series. It also establishes a
credibility in the minds of audiences as
well as government and donors that
allow for other projects, using the Soul
City and Buddyz brands, to further
46
or car. Friends for Life seeks to
influence people’s behaviors by
providing them with relevant health
information that will help them make the
right choices for their lives.
Participation and EE Workshop: Thursday 30 September, 13h30-15h00
Syed Rahman, Tree Foundation, Bangladesh
Sustainable EE
intervention
community. One aim of this project is to
give information to the local community
so that people can know what they
need to do to prevent certain health
risks. The stigma of HIV/AIDS is yet to
be broken in our communities. Radio
affords an opportunity to people who
would, under normal circumstances, not
show up for an HIV/AIDS awareness
talk, for fear of discrimination, to tune in
and listen in the secrecy of their home
impact on health and development.
Ultimately, it enhances the ability of the
projects to impact on social change.
This presentation will examine the
various strategies and tactics used by
the Institute to help achieve this
sustainability, as well as a number of
key external factors operating within
South Africa that have impacted on the
broadcasting environment and have
helped contribute to the project’s
longevity.
When the broadcast ends,
the programme is not over:
Maximising the effectiveness of EE
programmes at community radio level.
Adele Mostert, ABC Ulwazi, South Africa
ABC Ulwazi is an NGO interacting with
a network of around 60 community
radio stations in South Africa. It
produces more than 2000 hours a year
in a wide range of educational and
developmental radio programmes for
the sector. This provides an essential
service since most stations do not have
production facilities and therefore find it
difficult to fulfil their ICASA obligations
to provide educational programming.
the majority of the ABc Ulwazi
programmes use the EE format, for
example RCS, the Magic Circle, Talking
Man-Talking Woman, Fight against the
Fist etc. However, it has learned over
the past 8 years that producing a wellresearched, well-scripted, wellproduced programme, using familiar
situations and colloquial dialogue, is
not enough. This is a form of media
determinism that must be questioned.
Station 'buy-in' must be ensured
through short adult education courses
for presenters and station managers.
This helps them to 'localise' scripts to
address regional issues, problems and
Languages. In addition, in order to
extend the usefulness of the broadcast
programmes, Listeners Clubs are being
established. These create further
opportunities for selected opinionformers in the community to maximize
the impact of the broadcasts. Listeners
Clubs can disseminate the broadcast
information to NGOs and schools as
well as lobby for airtime on the local
station for panel discussion
programmes. Critically, Listeners Clubs
can provide structures, advice, and
assistance to help those individuals
targeted by the broadcasts, for
example: Victims of domestic violence,
AIDS sufferers, or unemployed youth.
This addresses the myth of Individual
Volition by creating support structures.
Friends 4 life: Effects of
radio on education
Charles Kalima and Nokuthula Matyeshana,
Daimler Chrysler, South Africa
The “Friends for Life” radio programme
is a DCX- SA (East London) HIV/AIDS
Peer Educators’ initiated project in
collaboration with Link FM Community
Radio Station. One hour of airtime a
week is hosted by the peer educators
to supply information on healthy living
and wellness to the East London
Theatre for Research Education and
Empowerment (TREE) understands that
education is only effective when it can
be related to real life situations. From
time immemorial, theatre has had the
privilege of audience's “willing
suspension of disbelief.” Put in a real
life situation, the audience can
immediately attach themselves to the
production - this attachment lets them
understand and comprehend what is
told and shown, and more importantly,
to digest the message with ease. That
forced or compulsory education
generates detraction is clear from
school-life experience; still we accept
this because we need this for our
livelihood. But in the case of education
that is not mandatory and that—
seemingly—does not help us with our
livelihood, we might not like to be
forced to be educated. When we
attempt at to educate or to raise
awareness through theatre, the job can
be done with threefold success: one,
the information is transmitted without
any sense of pedagogy, therefore no
revulsion at the part of the audience;
two, the simulated reality helps the
audience see the issue with
detachment; and three, the
entertainment and the later discussion
session help them get through the
matter and not to forget or ignore the
message the moment they leave. This
quality of “remembering” the message
and information should be the ultimate
goal of any development programme.
The TREE theatre mode creates another
space for the target community other
than that of a spectator. The target
audience—be they a marginalised
community or a team of outreach
activists—themselves perform.
‘Performing’ does not mean simply
‘acting,’ but ‘role playing;’ not simply
‘assuming’ a role for entertainment
diversion, but ‘becoming’ the role for
identity diversion. With this fluidity of
identity, the performer identifies herself
or himself with a person who he or she
is not, and thus not only understands
the situation she or he has been in, but
also tastes another experience to be
better able to judge and improve upon
the prevailing situation. TREE has
already attempted this method at
different projects, especially at training
sessions and workshops and in forming
Self-Help Group at different
communities.
Research and EE: Thursday 30 September, 15h15-16h45
Impact study: The nature
of attempting to analyse
the impact of EE
Gordon Bilbrough, arepp: Theatre for Life,
South Africa
arepp: Theatre for Life tours nationwide, providing interactive, live, social
lifeskills education to school-going
youth, in different types of
communities, and in all the major
languages of South Africa. In 2000
arepp: Theatre for Life initiated a fouryear process to develop an impact
capturing and monitoring system;
specific impact indicators against which
to assess the project; and a three-year
impact evaluation process with some
60 South African schools. arepp:Theatre
for Life needed to refine and develop a
way in which to critically evaluate the
shows, the facilitation sessions, the
questions asked, and the narratives and
other anecdotes gathered into a
'statistical' measurement which would
enable it to better identify, capture,
assess and track the impact of the
individual shows, the tours, and the
projects, and which would provide more
concrete and useful information over
time. In order to do this, it was
necessary to define impact indicators
that were specific to the nature of the
intervention itself, and to then find a
way of measuring those. The overall
purpose of the process was to develop,
implement and test an impact
monitoring and evaluation system for
the work which provided both
quantitative and qualitative information.
In addition, it was to include the
monitoring of the involvement of
partners as a factor in enhancing
impact. At the same time, a long-term
evaluation project would be designed
and instituted to test the validity of the
system and changes in behaviour in a
selected representative audience. Data
collected through the monitoring
process would then feed directly into an
interim evaluation (after one year) of the
evaluation project, and would then be
used in an impact evaluation at the end
of the evaluation project (three years) as
a basis for accurate assessment of
changes in the choices or lives of the
audiences within the evaluation project
schools, and thus, by extrapolation, in
the choices and lives of all
arepp:Theatre for Life audiences under
comparable conditions. The
presentation provide a forum for
questions and discussion on the
processes that arepp: Theatre for Life
47
THURSDAY
has engaged in to develop this system,
an initial examination of the first year of
evaluation data in terms impact
amongst the arepp:Theatre for Life
audiences, how the arepp: Theatre for
Life impact capturing and monitoring
system performed, and challenges,
alterations and the way forward.
Positioning EE for
second-order change
Nagesh Rao, Sumya Pant and Arvind
Singhal, Ohio University, USA
Inspired by the entertainment-education
radio soap opera, Taru, six young
women from an upper caste Brahmin
community start a school for lower
caste Dalit children in Bihar, India. For
the first time, young unmarried men and
women from different villages in Bihar
participate in a week-long theatre
workshop. While most social change
PROGRAM
projects achieve first-order change that is, change within a system which
itself remains unchanged - Taru seemed
to have engendered second-order
changes, that is, changing the system
itself. The present paper investigates
how Taru sparked second-order
changes in Bihar, distilling lessons for
how entertainment-education
programmes can be strategically
positioned to create and sustain
systemic social change.
Some Neuro Linguistic
Programming (NLP)
theory and concepts, and
their application in
participatory EE
PROGRAM
structure of subjective experience’ and
‘the study of excellence and how to
reproduce it’ (John Grinder, founder). It
offers a theoretical framework and a
variety of powerful and practical
behaviour change concepts and
techniques, several of which have
contributed to the development of
Bridges of Hope participatory HIV/AIDS
training tools and EE techniques. IEC
and BCC interventions often focus on
the dimensions of environment, skills
and beliefs, but these can be
undermined where dominant identities
held by target groups do not support
desired behavioural outcomes. The
power of storytelling, drama and other
EE techniques lies in their ability to
work also at the level of identity.
Peter Labouchere, Bridges of Hope,
Zimbabwe
NLP (Neuro Linguistic Programming) is
defined variously as ‘the study of the
Mass Media and Beyond: Thursday 30 September, 15h30-16h45
Urunana: Edutaining soap
opera in Rwanda
Samuel Kyagambidwa and Irene Josephine
Uwamariya, Health Unlimited, Rwanda
Urunana ('Hand in Hand'), an interactive
and needs-based soap opera, aims at
increasing awareness and discussion of
sexual and reproductive health issues
among rural women and youth in
Rwanda. It is produced by a skilled and
professional team and has been
broadcast on BBC World Service and
the Rwanda National Radio since 1999.
It is characterised by both education
and entertainment components and it
has a listenership of more than 65% of
the Rwandan population. Discussions
with the audience provide input to the
programme to make it original and
reflective of real-life issues, including
those relating to health. Listeners
identify with popular and famous
characters like Bushombe, the comic
character; his wife Kankwanzi; and
Mariyana, a trained voluntary
community health worker and role
model in caring taking her late
husband, Munyakazi, who lived
positively with HIV/AIDS in the
imaginary village of Nyarurembo.
Budensiyana and Filipo, the youth role
models in the soap, provide useful
messages on HIV/AIDS prevention. The
edutainment format of this soap has
enhanced its popularity and led to open
discussion of sexual reproductive health
issues which were culturally taboo and
48
confined to the bedroom. The soap
broke the cultural barrier associated
with discussion of such sensitive issues
between men and women. Social and
individual behaviour change as a result
of listening to Urunana has been
reported. Urunana has become a
unifying factor of the Rwandan
population where the people listen, then
discuss and take informed shared
decisions. The soap has also become a
language teaching aid for the
Rwandans in the diaspora. It is widely
listened to beyond the intended
coverage and feedback through letters
and phone calls are received from
listeners as far as Cameroon, the
United Arab Emirates, Congo Brazaville,
Burundi, Tanzania, Kenya, and DRC indicating how the programme has
helped them and their families and
suggesting new ideas. Edutainment
strategy has proven a success in
Rwanda and is recommended for
adoption by all social and behaviour
change communicators.
Using the internet to
facilitate social change
Tashi and Luke Tagg, TashiTagg, South
Africa
J’ai Mes Raisons:
Participation (primary &
vicarious) in an HIV/AIDS
Music Mass Media
Campaign
Eliot Osborn, Project Troubador, Stuart
Leigh, Real World Foundation and Arsene
Gbaguidi, Centre Afrika Obota
“J’ai Mes Raisons (de me proteger)” is
a song-based multiple media campaign
that addresses two conference themes
- participation and mass media. It
emphasizes personal choice as an HIV
prevention strategy. It was produced by
three NGOs, two of them US-based,
Project Troubador (Eliot Osborn), and
Real World Foundation (Stuart Leigh)
and one in Francophone West Africa,
Centre Afrika Obota. The project was
produced in Cotonou, Benin and
launched on radio in December 2003.
The campaign design employs video,
radio quizzes, cassette giveaways, and
face to face community based and
school sensitization sessions. “J’ai Mes
Raisons” results from the artistic
collaboration of popular Beninois
singers, songwriters, and producers
and two highly musical American
partner organizations with experience at
the confluence of music, drama, radio
video, public health and education. Our
presentation will focus on social,
technical, and theoretical elements.
Social: The target age group for J’ai
Mes Raisons is dual: Beninois teens
and the general public. The
geographical target is Benin and
linguistically related communities in
surrounding countries. The song is in
Fon, Yoruba, Tori, Bariba, and French.
The production blends celebrity vocal
talent with those of youth recorded in
schools. It combines expert studio and
mobile recording techniques. A brief
moment of audio theatre between a
mother and child adds a further moral
depth to the song, setting it apart from
more sexually-focused works. It
unashamedly amplifies the “C” in
“ABC” while highlighting familial love
and responsibility. It’s an emotionally
charged song with cross-generational
appeal. We will share the music, video,
and audio PSAs as well as the story of
its creation. It is one of inspiration from
afar, discussions between collaborators;
different musical and creative
possibilities; endorsing the local and
letting go of the imported; of a very
short 10-day timeframe; of trusting in
new partners; of sharing the finished
work over the airwaves; and of
participation by a cast of more than a
thousand people.
Technical: We will
discuss the essential technologies
employed (studio Cubase-PC recording,
school-based youth recording with
ProTools 6.0 and Mbox, Macintosh
laptop, Final Cut Pro etc.), and video
“on the fly”. The relevance of our
project process for replicability will be
discussed.
Theoretical basis: Ours
rests on 1) understanding of the power
of music to motivate and to cultivate
reflection, 2) multi-channel layered
media distribution, 3) audience
identification and projection of self.
The US presenters draw on combined
total of over 50 years of international
music and media work, much of it
collaborative. Eliot Osborn of Project
Troubador has been designing and
leading performance based cultural and
development initiatives in Africa since
1983, most notably addressing HIV
education issues in Cameroon and
Benin. Stuart Leigh of Real World
Foundation has worked in African arts
and educational communications and
training since 1978 (Sierra Leone,
Ghana, Swaziland). He has worked
closely with OLSET’s South Africa
Radio Learning Project (1992-1997),
and Ethiopia’s Ministry of Education
(1999-2004). Arsene Gbaguidi is a
lawyer and project officer with Center
Afrika Obota.
The presentation will share experiences
gained through establishing an on-line
publication that aims to educate
audiences in reading the media and
assess it in relation to their lives; to
establish a relationship between the
personality of TashiTagg and audiences;
to consider the medium of television in
relation to beliefs, values and culture; to
provide unique perspectives on film, TV,
sport, and celebrities; to challenge
audiences to think critically; to provide
audiences with an entertainment
product based on the principles of
honesty and integrity; and to entertain.
It will include reflections on the
following issues: getting an artistic
product that aims to assist with social
change acknowledged in the
commercial world (strategies and
approaches and challenges); building
an audience and community with no
budget for advertising; relationship
between sponsor and product;
managing and educating a community;
guiding conversations, posing
questions, working with status,
providing interesting content; and the
relationship between character in the
virtual world and the person in the real
one.
49
THURSDAY
PROGRAM
PROGRAM
Participation and EE: Thursday 30 September, 15h15-16h45
Puppets in EE:
Universal principles and African
performance traditions as a model
for interaction
Marie Kruger, University of Stellenbosch,
South Africa
Puppetry as an applied art is at present
almost everywhere associated with
entertainment and is widely applied in
EE. Intellectual and emotional
involvement and the ideal of spectators
can be stimulated when the inherent
nature of the puppet and the distinctive
principals of puppetry are aplied in
performance and a number of confining
concepts are abandoned. The puppet is
by nature a visual metaphor and symbol
which communicates through an
intensified, larger than life universal
language. This is done in a visualdramatic way when the puppet is
applied in performance to achieve
various objectives (entertainment, visual
literacy, community conscientization,
mobilisation, etc). In spite of preference
and prejudice all puppet types and
performance styles have the ability to
entertain and educate any age group
and people at different levels of literacy.
The impact of the performance and
therefore the intellectual and emotional
response of the audience, always relies
on the effective application of the
distinctive principals of the art form:
visual action as the essence of
puppetry, simplification, exaggeration,
and representation. The diverse
appearance and performing styles
prove that the puppet as visual
metaphor and symbol can be more than
a miniaturized figure brought to life by a
hidden actor-manipulator. neither is
puppetry restricted to be an entity on
its own. When these confining concepts
are discarded the fascinating interrelationship between live edutainer,
masked edutainer, puppet and live
audience in a single performance can
be explored to stimulate development
and social progress. This concept of
puppetry as an applied art correlates
with indigenous performances in SubSaharan African countries where
puppets, like other types of African
sculpture from traditionally illiterate
societies, are an essential means of
communication in which symbolic
images are part of multi-media
performances in open-air communal
spaces with no conceptual boundaries
between the audience and the
performers when they gather for festive
entertainment which transfer sociocultural messages.These performances
are closely associated with play and are
therefore open to any contemporary
inventions that address anticonventional social types often in a
50
comic or satirical way. This openess to
change, experimentation and innovation
has the ability to mobilze and educate
through entertainment.
Stimulating participation
in human development
through theatre:
A case study of mobile laboratory
experiments
Yacoub Adeleke, Mobile Laboratory Theatre,
Nigeria
The current fascination for the term
Theatre for Development (TFD) and its
application in community development
workshops and outreaches no doubt
has its foundation in the participatory
quality of this genre of the Theatre
which is a marriage of two disciplinesTheatre and Development. One of the
major criticisms levied against the
orthodox approach to development was
that, it places the rural people at the
bottom in the process of development.
It denies them opportunities to
participate in their own developmentmaking them mere mouthpieces of
ideas created by others-also mystifying
their realities and rendering them
passive, dependent and uncritical in an
inequitable social structure. SpectActors, Active and Participatory
Audience are some of the terms that
have come to assume central posture in
theatre since its relevance in
participatory human development
became not just pronounced but a
force to reckon with in development
field. As against the Top-down
communication that fails to put into
consideration the peoples worldview,
cultural background, and experiences
and denied them feedback. TFD
ironically has been able to bridge this
vacuum and redundancy integrating
and carrying the people along in their
own development, by exploring the
neglected tools: worldview, cultural
background, and experiences of the
people. In this presentation sharing the
experiences of my "MOBILE
LABORATORY" experiments I will look
at the different ways in which
participation could be realised in
development through theatre. In other
words this paper engages itself with
techniques TFD and the roles of
costume, music, dance folklore,
language and space in EducationalEntertainment-EDUTAINMENT as
explored by me in a rural community,
maternity and remand home.
Participation in media for
conflict transformation
Lena Slachmuijlder and Aloys Niyoyita,
Studio Ijambo, Search for Common Ground,
Burundi
Conflict implies the breakdown of
relationships and trust in a society.
Suspicion and rumours dominate and
these limit the opportunities for
dialogue between the parties. The
actors in the Burundian conflict include
armed rebel groups, the government
army and different political parties, as
well as a wide variety of social groups
such as taxi operators and local
traders. Within the context of the
Burundian conflict, these groups also
encompass the two main ethnic groups,
Hutu and Tutsi. Since 1995, Studio
Ijambo has been using radio as a tool
to promote peace and reconciliation by
communicating positive messages, by
reaching out to the different parties,
and by bringing them together to
dialogue through radio programmes.
Each month, Studio Ijambo produces
approximately 100 radio programmes,
using different formats including
magazine, roundtables, vox pops, live
interactive programmes, reports and
radio drama. These programmes are
broadcast on eight different public and
private radio stations in Burundi,
eastern Congo and western Tanzania,
as well as via the Internet. Studio
Ijambo programmes reach out to the
different actors in the social and
political conflict, create a space for
dialogue, and look for constructive
solutions. Often these radio
programmes are the only way the
different actors are able to enter into a
dialogue. Studio Ijambo journalists
moderate the programmes in a way
which allows the participants to identify
solutions to their problems, and which
permits them to change their positions
and adopt new strategies to help
resolve the conflict. This presentation
will: i) look at the different ways of
negotiating and maintaining
participation in radio programmes as a
tool of conflict resolution; ii) highlight
some of the dangers presented by radio
stations in the Great Lakes region; and
iii) analyse the lessons learned from
Studio Ijambo and other regional
initiatives.
Participation and EE Workshop: Thursday 30 September, 15h15-16h45
Identities, relationships
and responsibilities:
Participatory media in the exploration
of gender and HIV/AIDS behaviour
amongst South African youths
Mkhonzeni Gumede and Juju Mlungwana,
DramAidE, South Africa
This workshop will demonstrate
DramAidE’s participatory interactive
methodology. It will include a
dramatization of responses to HIV/AIDS
with special reference to issues of
gender. These issues are addressed
through understanding early
conditioning and cultural heritage in the
context of living and making life style
choices in the 21C. The workshop will
include drama-based techniques that
will be used to deepen discussion and
generate creativity. These techniques
will include image theatre, forum
theatre, role-plays, stop-start drama,
games and participatory exercises. The
techniques explore the difference
between assertiveness, aggression and
respect and help to develop
interpersonal relationship skills.
Participants are encouraged to speak
out their ideas, understand their
emotions and the consequences of their
actions as they discover different ways
of interacting with each other. The
outcome of the workshop will be the
development of action media products
that can be used to deepen
understanding and raise awareness
about issues of gender and HIV/AIDS.
51
SPEAKER BIOGRAPHIES
SPEAKER BIOGRAPHIES
Speaker biographies
Adam, Gordon:
Gordon is director of Media Support, a
Scottish based NGO and consultancy
working in development
communications projects in Southern
Africa and Afghanistan, and which
advises the British Government (DFID)
on mass media and development. A
BBC trained journalist, he wrote
extensively on Afghanistan and South
Asia and was head of the BBC Pashto
Section for eight years. His publications
include several handbooks on media,
health and conflict, and he is a guest
lecturer on the MA Communications for
Development course at Malmo
University in Sweden.
Adewusi, Richard:
Richard is the founder of the Youthaid
Project and the Youthaid Festival to
propagate the ideals of the
arts/entertainment as a major tool for
youth development. He is based in
Nigeria and has written several plays for
both stage and electronic media
productions.
Ayoma, George:
George works as a field officer for
CARE-Kenya's project on prevention of
mother-to-child transmission of HIV. He
is a cultural activist, puppeteer,
playwright, performer and storyteller.
George performs to community
audiences in low-resourced settings.
Batamula Cornelius, Amabilis: Amabilis
is the Managing Editor of FEMINA
Magazine, one of the products of the
HIP multimedia initiative in Tanzania.
She participated in the design of the
project. Amabilis holds a Masters
degree in Journalism Studies from
Cardiff University in UK. She gives the
project the benefit of her photography
and journalism skills and her interest in
sexual reproductive health and rights.
Beck, Vicki:
Vicki is a director at the Hollywood,
Health & Society in the University of
Southern California (USC), Norman Lear
Center, Annenberg School of
Communication. She oversees outreach
and research activity, including studies
on the content and effects of TV health
storylines, and development of research
agendas to address entertainment media
and health. She received her Master of
52
Science degree in mass communication
from San Diego State University and has
been a health communication specialist
for 20 years.
Bertrand, Jane:
Not available at time of print
Bharath Kumar, Uttara:
Uttara works for Johns Hopkins
University and has been in Zambia since
1998. She is Chief of Party for the
USAID-funded Zambia Integrated Health
Programme (ZIHP) which focuses on
strategic Behavior Change
Communication (BCC) and community
partnerships. She has worked for over
10 years in international health in many
countries including the United States,
India, Zimbabwe, Namibia, and South
Africa. Prior to this, in 1993 she founded
a health communication NGO called
Nalamdana in Chennai, Southern India.
She continues to serve on the Board of
Trustees of Nalamdana.
Bilbrough, Gordon:
Gordon Bilbrough graduated from the
University of the Witwatersrand in
Johannesburg, South Africa in 1990,
with an honours degree in Drama and a
passion for telling stories. After several
years working with various different
theatrical organisations, he started
working for arepp:Theatre for Life – a
dynamic, innovative and creative
company that uses theatre, drama and
puppetry to holistically teach life skills in
the arena of relationships and sexuality –
where he is currently an Executive
Producer, and resident script writer. His
duties at arepp:Theatre for Life include
general administrative and office
management, human resources
management, financial management
including fundraising and donor
management, strategic development,
and all areas of quality control,
production and assurance. Here his
focus is the use of theatre and puppetry
to provide alternative, challenging lifeskills education to all the communities in
Southern Africa. Theatre is a powerful
medium for addressing ‘life-style issues’,
which are so intertwined with all aspects
of daily thought and interaction, allowing
an audience the opportunity to ‘safely
rehearse’ the consequences of attitude
changes, and thus facilitating the making
of these changes.
Bouman, Martine:
Martine is the managing director of the
Netherlands Entertainment-Education
Foundation (NEEF) and of Bouman E&E
Development. She works an independent
researcher and consultant in the field of
entertainment-education and mass
media. She has been a pioneer in the
entertainment-education strategy on
television since the late eighties. In 1999
she published her book called ‘The
Turtle and the Peacock’; the
entertainment-education on television .
She was CEO of the EE2000 Event in the
Netherlands and acts as a mediator and
facilitator in EE television interventions.
Brokensha, Annette:
Annette Brokensha has worked in
entertainment education since 1984. She
is passionate about the development of
people through the medium of theatre.
Since 1984 she has worked with various
theatrical and developmental
organisations, in a range of capacities
including Performance, Project
Management and Marketing. Annette
has been working with arepp: Theatre for
Life for the past 11 years. As Executive
Producer – Marketing and Production,
her current focus is the maintenance and
growth of arepp: Theatre for Life’s
position as a leader in its sector.
Amongst other things, Annette is directly
responsible for the management and
planning of tours, maintenance of artistic
standards, content and management of
all aspects of productions.
Work experience include;
- 4 years as a performer with the Ladder
Theatre company providing educational
plays throughout South Africa > 2 years
as performer, workshop facilitator and
manager with Art Drama and Movement
(ADAM) presenting plays and workshops
with the aim of challenging traditional
roles and values in the South African
church.
- 6 months in sales and marketing for
Soundalite cc (now artslink.co.za)
- 2 years as a Production Manager with
Out Of The Box - Theatre Company,
providing educational theatre for primary
schools in Gauteng on abuse, drugs, life
skills and environmental issues 1991 1992.
- 3 months in sales and marketing for
the Victory Theatre
- 11 years experience with arepp:Theatre
for Life, working with the organisation in
various capacities including Production
Coordinator, and Executive Producer.
Duties Include:
Joint Company Management and
Administration, Joint creative input on
artistic standard, content and
management of all aspects of
productions., Human resource
management., Strategic development,
Marketing, Production Management. And
All areas of quality control, production
and assurance.
Brown, William:
William is Professor and Research
Fellow in the School of Communication
and the Arts at Regent University. He
served for ten years as Dean of the
College of Communication and the Arts
at Regent University before becoming a
Fellow. He received his Bachelor of
Science Degree in Environmental
Science from Purdue University, his
Masters Degree in Communication
Management from the Annenberg School
of Communication at USC in Los
Angeles, and his Masters and Doctorate
in Communication from the University of
Southern California. His academic
research interests include media effects,
social influence, and media
personalities. His most recent research
is 11-nation study on the effects of the
Christian television programming and a
study of the California recall election. He
has published numerous academic
journal articles and book chapters in the
field of communication during the past
ten years, and writes both fiction and
non-fiction. Dr. Brown has taught
classes at the University of Southern
California, the University of Hawaii,
University of the Nations, and Regent
University. He travels extensively to
conduct research and to write. During
the past three years he has been
working in Africa each summer with
funding from the U.S. Department of
Defense to promote HIV/AIDS
prevention. He and his wife, Nancy, were
full-time missionaries for ten years, living
in Hong Kong most of that time. They
have two daughters and reside in
Chesapeake, Virginia.
Buaprakon, Duangkae:
Duangkae has many roles in the Thai
entertainment business. She is an actor,
a creative, a facilitator, a researcher, a
media lecturer, and a media producer for
a television station. She is a
volunteer for People's media
(Makampom) group, where she has
performed in a number of shows in
Thailand, Germany, United States. She
also acts as a facilitator to train acting
for younger generation in the local
community.
Bulbalia, Firdoze:
Firdoze is a director, producer, writer and
educator. The initial part of her career
saw her actively involved as an activist
in women and children’s movements,
using theatre and art as mediums of
expression and for conflict resolution.
She worked in many developmental
programmes and facilitated many
workshops in the ‘child rights’ arena.
She was involved in the establishment of
the South African Charter on Children’s
Rights and also participated as well as
prepared the South African child that
represented AFRICA at the International
Human Rights Conference in Vienna in
June 1993. These projects were all
under the auspices of the National
Children’s Rights Committee and
UNICEF.
Choro, Timon:
Timon works as acting Regional Director
for Africa Alive, a regional youth-serving
organisation that aims to empower youth
with lifeskills to prevent HIV/AIDS
infection through entertainment
education. The organisation has
chapters in Kenya, Uganda, Tanzania
and Zambia. He holds Master of Arts in
Communication.
Clacherty, Glynis:
Glynis is the director of a research team
at Clacherty & Associates, a firm
specialising in innovative approaches to
research work with children aged 3 to
18. She has undertaken projects for,
among others, UNICEF, Save the
Children Sweden and UK, Soul City,
Takalani Sesame and UNHCR in South
Africa, Uganda, Lesotho, Zimbabwe and
Madagascar.
Dalrymple, Lynn:
Lynn is a Professor in the Department of
Arts and Culture at the University of
Zululand and an adjunct Professor in the
Centre for Culture, Communication and
Media Studies at the University of
KwaZulu-Natal. She is chair of the
HIV/AIDS Committee of Senate and
Council at the University of Zululand.
She is the Director of DramAidE which is
a self-funded organisation based at the
Universities of Zululand and KwaZuluNatal.
de Figueiredo, Donique:
Donique works for Soul City in
Johannesburg, South Africa. Her work
focuses on the Soul Buddyz Clubs. She
has an Honours Degree in Social Work
and has travelled to Brazil and Peru on
exchange visits to understand,
investigate, and learn from their methods
and strategies for engaging young
people in social movements.
de Fossard, Esta: Esta is a pioneer of
Entertainment-Education (E-E). She has
done writing, directing and producing in
radio and TV for the ABC and in the
USA. She taught high school and
college writing and literature in Australia
and the US, and has published over 50
textbooks and children's books. She
has been conducting design workshops
and teaching E-E writing in Africa, Asia,
Europe and Latin America, and writing
E-E manuals.
de Lanerolle, Indra:
Indra has been a television and film
producer in the UK and South Africa for
almost two decades. He was a producer
of the Soul City television series,
executive producer of Gaz’lam and is
strategic advisor to the Khomanani
campaign.
Dlamini, Penny:
Penny holds a B.Proc. Degree and a
Post-Graduate Diploma in Adult
Education and Training, both from the
University of Natal, Durban. She is
currently enrolled with Wits University for
a Masters in Management in the field of
Public and Development Management.
Penny is presently the Acting Manager
for Advocacy with Soul City: Institute for
Health and Development
Communications, where she is mainly
responsible for advocacy strategy
development and implementation. Her
background experience includes human
rights project management, materials
development and training. She has done
extensive work around training and
development, focusing primarily on
development interventions at a rural level
and targeting women. She has also
worked extensively in the area of public
policy and advocacy strategy
development and implementation,
developing a training programme and
training manual aimed at lobbying
provincial government
Durden, Emma:
Emma works for DramAidE in Durban,
South Africa as an actor/teacher, doing
AIDS education in schools. She also
works in the field of AIDS education as a
facilitator and writer, with a number of
publications to her name, including
training manuals, research reports and
school textbooks. Emma’s main focus
remains the area of theatre, and she
writes scripts and directs plays for
53
SPEAKER BIOGRAPHIES
adults on health-related issues such as
HIV/AIDS, smoking, healthy eating and
workplace safety.
health promoter. She holds a PhD.
Ghosh, Manishita: not available at time
of print
Edkins, Don:
Goldstein, Susan:
Don is an independent South African
filmmaker and producer based in Cape
Town. His films include ‘Goldwidows’
(1990), ‘The Colour of Gold’ (1992), and
‘The Broken String’ (1996). He is cofounder of Day Zero Films through which
he has produced the Southern African
SACOD series on truth and reconciliation
‘Landscape of Memory’ (1998). Recently
he produced the multi-awarded large
documentary project ‘Steps for the
Future’ (2001/02) – a collection of 37
films about Southern Africa in the time of
HIV/AIDS. He also manages a mobile
video cinema in Lesotho to promote
communication for development.
Susan is the Senior Manager of
Research at Soul City, Institute for
Health and Development Communication
in Johannesburg, South Africa. She is
also an honorary lecturer at the
University of the Witwatersrand School
of Public Health, and teaches at the
University of Natal. She holds a MBBCH
from the University of the Witwatersrand,
MMed in Community Medicine and a
Diploma in Health Service Management,
also from Wits University.
Fisher, Suzanne:
Suzanne is a consultant to the Head of
Mission for La Benevolencija in Rwanda,
a communications project that aims to
develop understanding of the roots of
group violence in the service of
prevention, trauma healing and
reconciliation. She has many years
experience as a print and radio
journalist, most recently producing a
four-part documentary series on Nigerian
culture for the BBC World Service. She
holds a MA in Development from the
School of Oriental and African Studies,
University of London.
Fraenkel, Eran:
Eran is Director of the Southeast and
East Europe Regional Programme of
Search for Common Ground (SFCG,
Brussels). He is a Balkan cultural
historian by training, and has studied
and worked in the region for over 30
years. He has developed a wide range of
media programmes promoting positive
social transformation, including the
award-winning children’s TV series
Nashe Maalo (Our Neighborhood).
Fuglesang, Minou: Minou is the director
and the project coordinator of the
FEMINA HIP multimedia edutainment
initiative in Tanzania, which she
participated in designing and setting
up. The initiative consists of FEMINA
HIP magazine, FEMINA TV talk show,
SiMchezo! magazine, the website
chezasalama.com and the production of
a series of booklets on living positively,
many which are translated to Swahili
from the Soul City originals. Minou is
also a social anthropologist and a
54
Gumede, Mkhonzeni:
Mkhonzeni is the Project Manager for
DramAidE, at the Universities of Zululand
and KwaZulu-Natal, South Africa. He
holds a BA (Hons) degree and a Higher
Education Diploma from Zululand
University. He is currently pursuing a
Masters Degree in Public Health
Communication at the University of
KwaZulu Natal, Durban. He has
presented papers at conferences around
South Africa and internationally in
Australia, Switzerland, Ireland, and
Norway.
Harford, Nicola:
Nicola is a freelance communications
consultant based in Zimbabwe. She has
provided technical assistance to the
design, implementation and evaluation of
the Modeling and Reinforcement to
Combat HIV/AIDS (MARCH) projects
funded by the US Centers for Disease
Control and Prevention. She is also
Programme Advisor to the UK NGO,
Media Support Partnership (MSP), in
Mozambique. With Gordon Adam, she
has co-authored two handbooks on
using radio for HIV/AIDS and health
communications.
Hartman, Lee:
Lee is the co-founder of Strika
Entertainment, a uniquely African
business that uses the comic medium to
make a difference in people’s lives.
Strika Entertainment prints over one
million comics a month in seven African
countries.
Hawkes, Jesse:
Jesse has initiated community
development theatre projects for youth
in South Africa (with the Community Arts
Project and Guga S'Thebe), in Haiti (with
CODEHA), and most recently in Rwanda.
SPEAKER BIOGRAPHIES
He is a theatre artist and a singer with
two decades of professional experience
in the arts. He holds a BA degree (cum
laude in History) from Harvard University.
Hayat, Abdul Sattar:
Abdul is head of teacher training in the
Afghan Ministry of Education. Previously,
he worked in education with a number of
NGOs operating from Pakistan and was
Director of Solidarity Afghanistan
Belgium. He holds a post gradualte
degree in Educational Professional
Studies from Kabul University.
Japhet, Garth:
Garth is the director and co-founder of
the Soul City Institute for Health and
Development Communication in
Johannesburg, South Africa. He is a
qualified medical doctor from the
University of the Witwatersrand.
Kalima, Charles: Charles is a Project
Manager for the Procurement and
Export Division at DaimlerChrysler,
South Africa. He is also a peer
educator in the DCX-SA HIV/AIDS
Workplace programme. He holds an
MSc.
Hope, Kim:
Kamau, Wajuhi:
Kim works as a trainer and workshop
facilitator, and is the initiator of the
Themba Project in South Africa. She also
participated in setting up the
Alternatives to Violence Project (AVP) in
South Africa, and in 1999 organised the
first AVP workshop in Swaziland. She
holds a B.Ed (Drama and Education)
from the London University and M.A.
(Women and Education) from Sussex
University.
Wajuhi is the co-ordinator of Plan
Kenya’s Children’s Video project. She is
a graduate teacher and has received
extensive media training in film and
television production at the Kenya
Institute of Mass Communication, media
training in children’s programme
production at NHK, Japan, and media
for community development in Sussex
University, UK. Wajuhi has been
instrumental in the success of the
children’s video project. She also edits
the children’s newsletter – Sauti ya
Watoto (Children’s Voices).
Moeketsi, Mpone:
Mpone works as an Assistant Trainer for
the Themba HIV/AIDS Organisation in
KwaZulu-Natal, South Africa. She cofacilitates the post-performance process
as well as being an integral part of the
training team in the organisation. Mpone
has been a representative for the Ark
Ministries for people living with
HIV/AIDS, a member of DramAidE, and a
volunteer at the office for students with
disabilities. She holds a B.A. (Hons)
degree in psychology from the University
of Durban Westville.
Hussein, Zahid:
Zahid is the president of the Sustainable
Resource Foundation (SuRF), in
Islamabad, Pakistan. He has been
involved in the design, execution and
evaluation of Behaviour Change
Communication (BCC) and
Communication for Social Change
(CFSC) strategies for primary health
care, reproductive health,
HIV/AIDS/STIs, nutrition, environment,
human rights, governance, and women’s
and children’s issues through his
engagement with NGOs, government,
donor-funded projects and consulting
assignments. He holds three Masters
degrees, and training in Filmmaking from
Punjab and Stanford universities.
Kelly, Kevin:
Kevin is the Research Director of
CADRE, based in Grahamstown, Eastern
Cape, South Africa. He is trained in
clinical and research psychology. He was
closely involved in developing the
original concept of Tsha Tsha and in
researching it at all stages from early
development to evaluation. He has a
keen interest in the theory of
psychological and social change, and
the conditions which enable
development of creative thinking and
action at individual and interpersonal
levels. He holds a PhD degree.
Kharas, Firdaus:
not available at time of print
Kincaid, Larry:
Dr. Kincaid is currently a Senior Advisor
for the Research and Evaluation Division
and Associate Scientist in the Faculty of
Social and Behavioral Sciences at the
Johns Hopkins Bloomberg School of
Public Health. He has worked in Asia,
Latin America, and South Africa. He
developed and tested the ideational
model for health communication
evaluation; tested new methods for the
longitudinal analysis of communication
impact, structural equation, propensity
score analysis, and path modeling;
developed the theory and computer
programs to analyze the
multidimensional image (mapping) of
audience perceptions of health-related
behavior; developed and applied
computer simulation methods to test a
new theory of social influence in
communication networks; developed
methods to measure the costeffectiveness of communication
campaigns; helped develop a new
framework to measure the social
changes and individual health behavior
outcomes of community dialogue and
collective action projects; and most
recently an elaboration of drama theory
and multidimensional scaling for the
study of entertainment-education
programs. Before coming to CCP, he coauthored the first book in the field on
communication networks, and he edited
the first book on communication theory
from both eastern and western
perspectives, which won the outstanding
book award from the Intercultural
Communication Division of the
International Communication
Association. Dr. Kincaid has worked in
the field of health communication for 30
years.
Koyana, Siphokazi:
Siphokazi is the co-director of MiniMag,
the manager of the NRF’s Thuthuka
programme for women and black
researchers, and the editor of the newly
published monograph on Sindiwe
Magona. She holds degrees from Smith
College, as well as Yale and Temple
Universities in the USA.
Kruger, Marie:
Marie is a Senior Lecturer in Drama and
Performance Studies at the University of
Stellenbosch. She holds a PhD on
theatre and tradition. She is currently
leading a research project on puppets in
Africa. She has been a member of
UNIMA since 1983 and has visited the
International Puppet Institute in France
and puppet training institutions in
Prague, Berlin and Budapest.
Kumar, Uttara Bharath:
Uttara works for Johns Hopkins
University and has been in Zambia since
1998. She is Chief of Party for the
USAID- funded Zambia Integrated Health
Programme (ZIHP) which focuses on
strategic Behavior Change
Communication (BCC) and community
partnerships. She has worked for over
10 years in international health in many
countries including the United States,
India, Zimbabwe, Namibia and South
Africa. Prior to this, in 1993 she founded
a health communication NGO called
Nalamdana in Chennai, Southern India.
She continues to serve on the Board of
Trustees of Nalamdana.
Kushlick, Ann:
Ann is the research manager of Ochre
Communication’s research unit in
Johannesburg, South Africa. She has a
background in developmental research
and has worked for CASE, a nongovernmental organisation specializing
in developmental research. She has
varied expertise in both quantitative and
qualitative research and has supported a
number of organisations in developing
capacity around research skills.
Kyagambiddwa, Samuel:
Sam is the Head Writer for the Health
Radio Programs Producing )rganisation,
an organisation producing a soap opera
and a magazine, broadcast on BBC and
Radio Rwanda. He studied at Makerere
University in Uganda and completed a
course in Music Dance and Drama,
majoring in drama.
Labouchere, Peter:
Peter (HIV/AIDS Training Consultant,
Bridges of Hope) creates, adapts and
trains others to use a range of innovative
participatory training tools, forum theatre
and behavior change techniques and
approaches to address issues around
HIV prevention, care, support and
positive living. He works with local,
national and international NGOs,
businesses, CBOs and other
organizations to enhance their HIV
related programs, such as Standard
Chartered Bank’s global award winning
Living with HIV program. He is based in
Victoria Falls, Zimbabwe.
Lasisi, Bolanle:
Bolanle was born in the year 1976 in
Jos, Plateau state, Nigeria, where she
completed her nursery, primary and
secondary education. She obtained her
first degree in Drama in the year 2000
from Ahmadu Bello University Zaria
Kaduna Nigeria. Since then, she has
worked in her field of study. Initially with
Nigerian Popular Theatre Alliance an
NGO based in Zaria, Nigeria, during her
National Youth Service and subsequently
with African Radio Drama Association
(ARDA) till date.
55
SPEAKER BIOGRAPHIES
Lettenmaier, Cheryl:
Cheryl has worked for more than 17
years in the area of behavior change
communication related to reproductive
health, malaria control, HIV/STD
prevention, HIV/AIDS care and support,
adolescent sexual and reproductive
health, maternal and child health, infant
nutrition, and gender. These efforts have
produced excellent results in terms of
the strategic planning process that
shaped them, the involvement and
participation of many relevant
stakeholders, the production of materials
and development of media and
community events and activities and,
most importantly, changes in actual
behavior in these crucial health areas.
Since 1988, Ms. Lettenmaier has worked
with the Johns Hopkins Bloomberg
Centre for Communication Programmes
(JHU/CCP) in a variety of African
countries, including Uganda, where she
has resided since 1994. Ms. Lettenmaier
was the Communication Advisor and
Deputy Project Manager for an
intergrated health project for eight of the
past ten years and subsequently
became a Regional Communication
Advisor for CCP. She has extensive
experience designing and overseeing
multi-channel health communication
campaigns, radio soap operas, television
and video dramas, print materials,
research and evaluation, communitybased activities, and participatory
training. Nine years of clinical experience
as a community health nurse in rural
areas of developing countries prior to
joining CCP gave her a very direct
appreciation of issues facing both health
workers and clients in developing
country environments.
Mak, Monica:
Monica is currently in production with
Dr. Claudia Mitchell and Dr. Sandra
Weber on SCORE!, a film on the
Shosholozas, a South African youth
troupe that promotes HIV/AIDS
awareness amongst teenagers. She is a
PhD candidate in the Department of Art
History and Communication Studies at
McGill University (Montreal, Canada).
Marin, Christina:
Christina directs the bilingual youth
theatre program "Teatro Movimiento
OllÃn: Una Fuerza Lateen@", in Phoenix,
Arizona. She is a PhD candidate in
Theatre for Youth at Arizona State
University. She has presented
workshops in theatre for social change
in Miami, New York City, Phoenix,
56
Omaha, Milwaukee, Georgia, Austin, and
Washington DC.
SPEAKER BIOGRAPHIES
& Schuster, 2003)
Menon, Kirti:
Maslamoney, Siven:
Siven is an unqualified broadcast
bureaucrat having initially trained as a
zoologist. He was a volunteer
propagandist for community
organisations, where he learned the joys
of manipulating the masses. That is how,
15 years later he accidentally got to
work on some of South Africa’s highest
rated prime-time educational
programmes, including Yizo Yizo, Tsha
Tsha, Gaz’lam (drama), Zola 7
(documentary) and Get Real (youth
current affairs). Over the last 3 years, he
has been Head of Programmes on the
country’s largest channel – “SABC1 Ya
mampela” – where he is responsible for
the channel’s overall programming
strategy. In the years between his
propaganda and TV work, he managed a
weekly newspaper for newly literate
adults as well as an educational radio
project.
Matuschka, Luitgard:
Luitgard has been working in
Mozambique as a senior advisor for a
GTZ-funded health programme fighting
HIV/AIDS. Her special task was to
develop and advise on HIV/AIDS
prevention strategies and public [missing
word] including exhibitions, film and
radio programmes. She has extensive
experience in development policy in
various countries, particularly with
HIV/AIDS programmes in Africa, Latin
America and Asia
Matyeshana, Nokuthula:
Nokuthula works for Daimler Chrysler
Wellness center as an HIV/AIDS
Workplace program coordinator in the
East London plant, South Africa. She
holds a post-graduate Diploma in
HIV/AIDS Management in the World of
Work from the University of Stellenbosch
and a number of qualifications in the
nursing field.
Mayer, Doe:
Doe is a Mary Pickford Professor of Film
and Television Production at the
University of Southern California’s
School of Cinema-Television. She holds
a joint appointment at the Annenberg
School for Communication, where she
teaches media campaign design and
implementation for non-profit
organisations. She has recently cowritten a book called Creative
Filmmaking From the Inside Out. (Simon
Kirti Menon has broad ranging
experience in the education sector, more
specifically in higher education in the
last 5 years. She also has extensive
expertise in the interpretation of policy
into implementation frameworks. She is
currently a senior lecturer at the
University of the Witwatersrand in the
School of Public and Development
Management and is a consultant to the
Council on Higher Education since 1999,
working primarily in the Accreditation
Directorate. Previous experience in
education apart from teaching and
lecturing, include the Quality Assurance
Audit for the Gauteng Department of
Education (1996), research for the
National Quality Assurance Audit in the
school sector (1996) and an examiner for
the Independent Examinations Board
(1995-1999). She is the Chairperson of
the Gandhi Committee. Ms Menon has a
BA degree in English Literature, a
Diploma in Journalism, Honours degrees
in Literature and Applied Linguistics,and
has recently completed her MBA. In
terms of publishing, Ms Menon has one
co-authored published report for the
Council on Higher Education (2000), two
chapters in books on education
published (1999 and 2003), a coauthored chapter on ‘Financing of Higher
Education Institutions in South Africa: A
Case Study of the University of the
North’(for release 2005), several policy
documents and journal articles.
Research interests include educational
and health policy with a focus on
evaluation and impact analysis.
disabilities. She holds a B.A. (Hons)
degree in psychology from the University
of Durban Westville.
Molefe, John:
John Molefe is a qualified teacher who
diverted to Marketing Career in 1997.
This was the time he joined Soul City
Institute, by then a project of the
Institute for Primary Health Care. He
then established the Marketing
Department and has been leading the
brand management of the Soul City
Institute, Soul City and Soul Buddyz
brands into household and
internationally respected Social Brands.
He is presently a member of the Senior
Management Team. His portfolio covers
Marketing, Distribution, Administration
and HR. His qualifications are B. Prim.
Ed, B. Ed (WITS), UDE (Tlhabane
College)
Morris, Gay:
Gay is an Associate Professor in the
Department of Drama, University of
Cape Town, South Africa. She leads
under and post-graduate courses in
educational drama and theatre,
community theatre and theatre for
development. She has recently
published in Theatre Research
International, NJ Drama Australia and
the South African Theatre Journal.
Mostert, Adele:
Niyoyita, Aloys:
Aloys is a senior journalist and producer
with Studio Ijambo, a project of Search
for Common Ground in Burundi. He is
currently based in Bukavu, Democratic
Republic of Congo, where he
coordinates the media productions for
Centre Lokole, a project of Search for
Common Ground in Congo.
Ntlabati, Pumla:
Pumla is a senior researcher for CADRE,
based in Grahamstown, Eastern Cape,
South Africa. She is a clinical
psychologist by training and has worked
full-time in the HIV/AIDS field for three
years on a large range of projects. She
specialises in qualitative research. She
has been closely involved in developing
and researching Tsha Tsha from its
inception. She holds a Masters degree.
Nyambe, Josephine:
Josephine is the Health Promotion
Communications Coordinator for the
Integrated Health Programme in Zambia.
She is engaged in empowering
communities to improve their health
through radio distance education
courses and radio and TV drama. For
many years, she worked within the
Ministry of Health and spearheaded
Lusaka Province HIV/AIDS
communication programmes for both the
health care staff and communities. She
also established the first workplace
response to HIV.
Juju is the Regional Manager for
DramAidE, an organisation based at the
University of Zululand, South Africa. She
holds a BA (Hons) degree in drama from
the University of Zululand and a Diploma
in Public Relations Practice from Public
Relations Institute of South Africa
(PRISA).
Adele has several years experience
working in community radio, doing
various production tasks including being
the station Manager of Rhodes Music
Radio in the Eastern Cape. She has
lectured in the radio section of Rhodes
University Journalism and Media Studies
Department, specializing in: radio
management and production skills. She
has also worked as a Consultant and
trainer for setting up a community radio
station at Evelyn Hone College, Lusaka,
Zambia and developing a news and
actuality curriculum for the Journalism
School. Adele is currently the Production
Manager for ABC Ulwazi.
Moeketsi, Mpone:
Narzary, Digambar:
Mpone works as an Assistant Trainer for
the Themba HIV/AIDS Organisation in
KwaZulu-Natal, South Africa. She cofacilitates the post-performance process
as well as being an integral part of the
training team in the organisation. Mpone
has been a representative for the Ark
Ministries for people living with
HIV/AIDS, a member of DramAidE, and a
volunteer at the office for students with
Pappas-DeLuca, Katina:
Digambar is the Chairperson of the
Nedan Foundation, working on the
complex issues of sexuality and
reproductive health rights of young
people in northeastern India. He holds a
Masters degree in Social Work (MSW)
with a specialisation in family and child
welfare from Tata Institute of Social
Sciences (TISS) in Mumbai, India.
Katina is a behavioural scientist with the
US Centers for Disease Control and
Prevention (CDC) in the Division of
Reproductive Health. Dr. Pappas-DeLuca
received her doctorate in health
education and health promotion from the
University of Alabama at Birmingham in
2003 and has been working with the
CDC since 1997. Dr. Pappas-DeLuca
has been a part of the CDC’s Global
Mlungwana, Juju:
Okoth, Phylemon
Odhiambo:
Phylemon is a youth advocate, theatre
artist and researcher and is currently
working as a Puppetry Trainer for Family
Programs Promotion Services (FPPS).
He holds a Higher Diploma in Project
Planning and Management. He has 10
years expertise and experience in
preventive IEC technical assistance and
training, namely the use of puppetry to
educate and motivate behaviour change
concerning sexual and reproductive
health.
AIDS Program Behavior Change Team
since its inception in 2000. Her research
interests include HIV behavioural
interventions, evaluation, reproductive
health, and gender studies.
Parker, Warren:
Warren is the director of CADRE and is
based in Johannesburg. He has been
involved in HIV/AIDS communication and
research since the late 1980s and is
presently the co-executive producer of
the South African educational youth
drama, Tsha Tsha. He has studied in the
fields of journalism, cultural and media
studies and adult education and has a
particular interest in the construction of
meaning through mass communication.
Pather, Krisen:
Krisen is a senior manager at Ochre
Communications, a leading social
communications agency in
Johannesburg, South Africa. He has also
been involved in many edutainment
projects including The Molo Show, Get
Real and Takalani Sesame.
Petraglia, Joseph:
Joseph is Co-Director of Global Health
Communications (GHC), a company that
provides technical assistance in
behaviour change communication,
programme design, and training. He is
also an international project manager for
the behaviour change team that has
developed the MARCH (Modeling and
Reinforcement to Combat HIV/AIDS)
approach to entertainment-education
within the US Centers for Disease
Control and Prevention. Trained as a
rhetorician and cognitive scientist, he is
interested in how narrative can be used
by public health professionals to
persuade and educate.
Piotrow, Phyllis:
Phyllis is a Professor at The Johns
Hopkins Bloomberg School of Public
Health, Department of Population and
Family Health Sciences, she was the
founding director of the Center for
Communication Programs. She coauthored Health Communication:
Lessons from Family Planning and
Reproductive Health (1997) and many
other publications. She received the
Carl Shultz Award for distinguished
service from the Population and Family
Planning section of the American Public
Health Association, and a Charles A.
Dana Foundation Award for Pioneering
Achievements in Health and Education.
57
SPEAKER BIOGRAPHIES
Power, Gerry:
Gerry is the Director of Research for the
BBC World Service Trust, overseeing
projects in Africa, Asia, the Middle East
and Latin America. He holds a PhD
(Media Theory and Research) from the
Annenberg School for Communication at
the University of Southern California. He
is an associate faculty member in the
Global Media and Communication
program at the London School of
Economics.
Quinn, Brent:
not available at time of print
Rahman, Syed Mizanur:
Syed is the co-founder of Theatre for
Research Education and Empowerment
(TREE). He holds a Masters degree in
Drama and a diploma in film direction
from India. He actively participates in
theatre to discover and associate
motivational potential to educate people
in issues related to economics and
development.
Rajendran, Jeevanandham:
Jeevanandham is project director and
creative vision and team leader behind
the planning and execution of
communication projects of Nalamdana, a
health communication NGO based in
Chennai, India. He holds Masters degree
in Folk Arts and Videography. Jeeva has
created over 30 successful street play
scripts, interactive teaching materials
including jigsaw puzzles, games, music
audio tapes, music videos, tele-films and
other communication materials for
Nalamdana.
Rametsi, Siphiwe:
Siphiwe is Head of Reinforcement
Activities, Makgabaneng Radio Serial
Drama, Gaborone Botswana. A former
secondary school teacher of six years,
who holds a degree in Education from
the University of Botswana (1982) and
an Associate Degree in Mass
Communication from Borough of
Manhattan University in New York City.
USA. (1995). Have been with
Makgabaneng Radio Serial Drama since
2001. Hobbies include nature walks and
story telling. Resides in Gaborone and
originally from Jackalas no 1. Village in
the North East district of Botswana.
Rao, Nagesh:
Nagesh is associate professor and
interim director in the School of
Communication Studies, Ohio University,
where he teaches and conducts
research in the areas of health
58
communication and intercultural
communication. He has worked on
several family planning and HIV
prevention research projects in the U.S.,
Thailand, Tanzania, and India. For the
last five years, he has analyzed the role
of culture in physician-patient
interactions in Brazil, Argentina, India,
and the United States. Nagesh’s
research has been funded by the
National Institutes of Health(NIH), the
National Science Foundation (NSF), the
Agency for Health Care Policy and
Research (AHCPR) and the National
Institute for Alcohol Abuse and
Alcoholism (NIAAA). He has served as a
consultant for Johns Hopkins University
Medical School, Kaiser Permanente
Health Care, PriceWaterhouseCoopers,
England, American Academy for
Physician and Patient and Health
Resources Services Administration
(HRSA). In 2002, Nagesh was named
University Professor at Ohio University.
Rieker, Mark:
Mark is a tutor in Sociology and is a part
time lecturer at the undergraduate and
postgraduate levels at the University of
KwaZulu-Natal, South Africa. He holds
an Honours degree (cum laude) and is
currently completing a research Masters
degree in Sociology developing action
kits for learner drivers.
Rix, Serena:
Serena Rix is a filmmaker, facilitator and
professional life coach. Working primarily
in Nepal and Australia, Serena has
produced educational videos on child
health, participatory development,
mountain safety for porters and trekkers,
and organizational capacity building.
When not making films, Serena coaches
people in peak performance, life balance
and goal attainment. She is currently
completing a Masters in International
Communication, and divides her time
between Sydney and Kathmandu.
Rolt, Francis:
Francis joined the BBC World Service in
1986, and then Radio Netherlands
International in 1991 as a producer for
South Asia. Two years later Francis
became a consultant to Capital Radio in
Durban, and was partly responsible for
the 'Africanisation' (and the slogan 'The
Station with an Afritude') of Capital.
Francis has been working for Search for
Common Ground since 1998, as Director
of Studio Ijambo in Burundi, and then as
Director, Common Ground Radio, based
in Brussels.
SPEAKER BIOGRAPHIES
Sarma, Nirupama:
Nirupama is a communications
professional with about 15 years
experience that includes consultancies
with agencies such as UNICEF (New
York, India and South Asia offices),
UNAIDS, the Communication Initiative,
Family Health International, and the
India-Canada Collaborative HIV-AIDS
Project (ICHAP). Her work spans
communication strategy development,
training, research and evaluation,
material development, media advocacy
and documentation.
Scheepers, Esca:
Esca is a research methodologist
working in the area of health and
development communication,
community media and mainstream
media. She specialised in praxis
research (particularly evaluation research
incorporating quantitative, qualitative
and participatory methodologies) at the
Centre for Research Methodology,
HSRC, South Africa. She works with
Soul City in evaluation research and
formative research, primarily in the Soul
City Regional Programme. She holds an
MA (Crit Psych) from Rhodes University,
South Africa.
Schutz, Brigid:
Brigid Schutz graduated from the
University of the Witwatersrand, School
of Dramatic Art in Johannesburg, South
Africa in 1990, with an honours degree in
Bachelor of Arts in Dramatic Art. She
majored in Design, Acting and
Performing Arts Management. She
worked with various theatrical
organisations in positions including
Stage Management, Scenic Painter,
Performer Educator, Designer and
Puppeteer. It was her deep love of
puppets and enduring belief in their
power to touch and change people’s
lives which brought her to arepp:Theatre
for Life (then the arepp Educational
Trust) in 1993. Here she is currently
employed as an Executive Producer
where her portfolio focuses on training
and production and she is the resident
designer and puppeteer. Her duties
include joint company directorship,
strategic development, Company
Management and administration, human
resources, and all areas of quality
control, production and assurance. In
the course of her work at arepp:Theatre
for Life, Brigid has travelled extensively,
running national and international
puppetry and drama training workshops
in South Africa, Namibia, Zimbabwe,
Botswana, Kenya, Tanzania, Glasgow
and Geneva, and presenting work at
festivals and conferences, in Reunion,
Pakistan, Scotland, London, Vancouver
and Geneva.
not available at time of print
develop and pitch ideas for educational
soap operas and to film public service
announcements. Dr Stadler also
undertakes research consultancy work
for the HSRC and the SABC, informing
media policy developments in South
Africa.
Singhal, Arvind:
Sthapitanonda, Parichart:
Arvind is a Presidential Research Scholar
in the School of Communication Studies,
Ohio University, USA, where he teaches
and conducts research in the areas of
diffusion of innovations, organising for
social change, and entertainmenteducation communication strategy.
Parichart received her Ph.D from the
School of Interpersonal Communication,
Ohio University, USA in 1995. She is
currently Associate Professor at the
Faculty of Communication Arts, and
Deputy Director at the Social Research
Institute, Chulalongkorn University,
Thailand. Her main research interest is in
the area of campaigns for social change,
and of communication and community
participation.
Shajahan, Mohammed:
Slachmuijlder, Lena:
Lena is the director of Studio Ijambo, a
project of Search for Common Ground,
which produces radio programmes to
promote dialogue, peace, and
reconciliation in the Great Lakes region
of Africa. She is also a performing artist,
specialising in African traditional musical
instruments, which she also teaches.
She is an international fellow in the
Brandeis University Ethics Centre’s
Program Recasting Reconciliation
Through Culture and the Arts.
Sulcas, Gabrielle:
Gabrielle completed her B.A. (Hons) with
distinction at the University of Cape
Town before spending 2003 travelling
and teaching in southeast Asia. She is
currently completing a Masters degree in
Applied Theatre Studies.
Summers, Diane:
College Campus and Chair of
Communications for UNESCO/ Orbicom,
a Global Network of disciplinary Chairs,
including 23 in Communications. VicePresident of the International Association
for Media and Communication Research
(IAMCR). Previously Ruth was a board
member of the SABC (1993-1997; 19992003); East Coast Radio (1997-1998);
and Durban Youth Radio (1997-200). She
has published internationally, notably on
issues relating to broadcasting in South
Africa. Ruth currently serves on the
editorial boards of Journal of
International Communication, Feminist
Media Studies, Ecquid Novi: South
African Journal for Journalism Research,
and Critical Arts: a journal of SouthNorth Cultural and Media Studies.
Theuri, Nester:
Nester is the Deputy Director of Family
Programmes Promotion Services, a nongovernmental organisation based in
Kenya which addresses issues of
community capacity building and health,
governance, and cultural
communications. She is also a trainer in
integrated reproductive health. She
holds a Diploma in Advanced Nursing
from the University of Nairobi.
not available at time of print
Smith, René:
René Smith is a media researcher,
currently completing a PhD on the
relationship between television viewing
and youth lifestyles. She holds a
BAHons Broadcasting Studies
(F.C.A/Plymouth) and a MA cum
laude(UND) Cultural & Media Studies,
where she researched representations of
violence and gender relations in Yizo
Yizo. She has lectured media studies
and communication at numerous
institutions of higher education and is
currently involved in advocacy work for a
national media education strategy. She
is a Review Board member of the Film
and Publication Board (FPB) and sits on
Icasa's Broadcasting, Monitoring and
Complaints Commission. She is currently
working as MISA-SA’s Broadcasting
Diversity Researcher. She writes in her
personal capacity.
Stadler, Jane:
Jane Stadler is Senior Lecturer in Film
and Media and Convenor of the Film
Studies Major at the University of Cape
Town’s Centre for Film and Media
Studies. Research interests include
media ethics, film spectatorship, and the
relationship between media, identity and
identification. This research informs
teaching, assisting UCT students to
Tagg, Luke:
Luke spent the past two years creating
TashiTagg, an online interactive
magazine that aims to entertain, provide
people from all cultures and
perspectives with a platform to express
themselves, and provide an alternative
perspective to the mainstream media,
among others. He did two years of a
Performer's Diploma in Speech and
Drama and spent five years working as a
professional actor, director, composer,
scriptwriter and musician.
Tagg, Natasha:
Tashi co-started a television column for
the South African Internet portal
iafrica.com. The column aims to use
television for social commentary and
encourages people to consider television
as they would theatre. She graduated
with an Honours Degree in Drama from
the University of Cape Town and spent
time working professionally as a teacher,
director, actor, writer and examiner.
Teer-Tomaselli, Ruth:
Ruth is the Director of the
Undergraduate Programme in Culture,
Communication and Media Studies,
University of KwaZulu-Natal, Howard
Tobi, Andile:
Andile works as a researcher for CADRE
in Grahamstown, Eastern Cape, South
Africa. He has managed and conducted
fieldwork for a number of survey and
qualitative research projects in HIV/AIDS
and in the development field, and has
conducted development and evaluation
fieldwork for Tsha Tsha, a television
drama series. He holds a BA in
anthropology.
Valdez-Curiel, Enriqueta:
Enriqueta is a physician and holds a
Masters of Community Development
with a specialty on rural women’s health.
She is an associate professor and
researcher at the School of Medicine,
University of Guadalajara. She received
her postdoctorate qualifications from the
University of California, San Francisco.
Her present research projects focus on
the areas of folk medicine, intimate
partner violence, and educationentertainment for sexual education.
van Breda, Liz:
Liz is a Lecturer at the University of
Cape Town, South Africa. She
coordinates and lectures on all drama
courses in the Education Faculty. She
also lectures educational drama on the
59
SPEAKER BIOGRAPHIES
Honours Course and supervises these
students in schools. She lectures on
drama in Education, tutors the theatre in
education projects and supervises these
projects in both junior and senior
schools for the Bachelor of Arts drama
course.
Messages: A Step-by-Step Guide,”
published spring 2001 by Sage
Publications, and awarded the “2001
Distinguished Book Award” by the
Applied Communication Division of the
National Communication Association.
Yahaya, Mohammed Kuta:
Witte, Kim:
Kim is a Senior Program Evaluation
Officer at the Center for Communication
Programs, Johns Hopkins University,
where she is providing technical
assistance with conceptualization,
design, evaluation, and analysis of
international health communication
research projects, on leave from her
position as Professor, Department of
Communication, Michigan State
University. Her current research focuses
on the development of effective health
risk messages for members of diverse
cultures and on health and development
interventions. Dr. Witte is a past-Chair
of the Health Communication Division of
the International Communication Division
and a past-Chair of the Health
Communication Division of the National
Communication Association. She sits on
8 editorial boards and has served as
expert consultant to the National
Libraries of Medicine, the Centers for
Disease Control & Prevention, the
National Institute of Occupational Safety
and Health, and others. Her work has
appeared in Social Science and
Medicine, International Quarterly of
Communication Health Education,
Communication Yearbook, Health
Education & Behavior, Communication
Monographs, Journal of Community
Health, and elsewhere. Dr. Witte has
received funding from the CDC, the
National Institute of Occupational Safety
and Health, the American Cancer
Society, and elsewhere. Her work has
been recognized by over a dozen "Top
Paper" awards at both national and
international conferences, as well as by
the “Distinguished Article Award” by the
Applied Communication Division of the
National Communication Association, in
recognition of the applied and practical
value of her research. In 1997, Dr. Witte
was awarded the “Teacher-Scholar
Award” at Michigan State University, in
recognition of excellence in research and
undergraduate education. Recently, Dr.
Witte was named the Lewis Donohew
Outstanding Scholar in Health
Communication, awarded in recognition
of outstanding research contributions to
the health communication field made
during the preceding biennium. She is
the lead author of “Effective Health Risk
60
Mohammed is a Senior Lecturer in
Development Communication and
Gender Issues in the Department of
Agricultural Extension and Rural
Development, University of Ibadan,
Nigeria. He is Nigeria’s pioneer member
of the International Association of
Communicators' Excellence in
Agricultural, Natural Resources, Life and
Human Sciences (ACE), Florida, USA.