New Books from Playback Theatre

Dear friend and colleague, We are writing with some exciting news and a special end-of-year offer. Tusitala publications is about to publish two new books:  ·         Do My Story, Sing My Song: Music therapy and Playback Theatre with troubled children
by Jo Salas (177 pages; $19);  ·         The re-issue of The Essential Moreno: Writing on Psychodrama, Group Method, and Spontaneity by J.L. Moreno, edited by Jonathan Fox (262 pages; $30).   Do My Story, Sing My Song tells the stories of children in residential treatment, diagnosed as severely emotionally disturbed, who took part in music and drama therapy with the author. Engaging, informative, and moving, this book is for general readers, teachers, parents, artists, therapists, policy makers, and anyone interested in children and the arts within or beyond therapeutic contexts. Jo Salas holds a master’s degree in music therapy from New York University and was certified by the American Association for Music Therapy. She is also a pioneer of Playback Theatre, an original form of improvisation based on telling and enacting true stories. Her book Improvising Real Life: Personal Story in Playback Theatre was recently published in Chinese, its fifth translation.  “A fine accomplishment with an inspiring, yet usually overlooked, subject. Jo Salas has written a powerful testament to the raw power of artistic experience and the redemptive power of creative expression. She has the poet’s eye for telling detail, the playwright’s ear for the surprising (and hilarious) rich dialog, and the writer’s gift for capturing troubled children in elegant, beautiful portraits.”–Eric Booth, Founder of Juilliard's Art and Education Program, consultant to The Kennedy Center, Lincoln Center Institute, and Tanglewood, and author of The Everyday Work of Art.  The Essential Moreno was first published by Springer Publishing Company in 1987 and has been a classic in the psychodrama literature since then, with numerous foreign-language editions. Tusitala is pleased to take over the publication of this important collection of excerpted writings of psychodrama’s legendary founder J. L. Moreno, including basic and advanced concepts and techniques, and verbatim transcripts of psychodrama sessions. Jonathan Fox, M.A., is the founder of Playback Theatre and the director of the Centre for Playback Theatre. A Fellow of the American Society for Group Psychotherapy and Psychodrama, he is a certified Trainer, Educator and Practitioner in psychodrama (T.E.P.).  He is the author of Acts of Service: Spontaneity, Commitment, Tradition in the Nonscripted Theatre. “It is not the usual book on psychiatry, psychotherapy, or psychopathology. It is a book about living, and the massive contribution of a true master.”–From the Foreword by Carl A. Whitaker, MD. To order books please go to www.playbackcentre.org/tusitala or call 845 255 8163.

Kennedy Center US offers Arts Management Training in Ramallah and South Africa

Michael Kaiser And the Quest For a New Global Theater
Kennedy Center Chief Helps A Ramallah Troupe Facing Some Very Real Roadblocks

By Noga Tarnopolsky
Special to The Washington Post
Thursday, November 22, 2007; C01

RAMALLAH, West Bank — One weekend earlier this month, Michael Kaiser, the Kennedy Center's workaholic president ("it doesn't matter where I am, I am always at work"), flew briefly to Michigan to visit his sister, who had been unwell, then turned around and flew, via Newark, to Tel Aviv. From there, he made his way to Ramallah, where he stood, like so many other American emissaries, in a tidy suit and tie, foreign but at ease, on a sidewalk amid the dust and bustle.

Kaiser, the turnaround virtuoso who rescued from financial ruin the Kansas City Ballet, the Alvin Ailey Dance Theater Foundation, American Ballet Theatre and, before coming to the Kennedy Center, London's Royal Opera House, has developed an almost messianic urge to teach the art of arts management to struggling cultural institutions around the globe.

"I am very anxious that the cultural ecologies of the countries of the world be healthy," he says. He sees the Kennedy Center as "the national cultural center" and as such, believes it has both national and international responsibilities. Among the other initiatives undertaken during his tenure, which began in 2001, Kaiser has established the Kennedy Center Arts Management Institute, which provides advanced training for young arts administrators. He's also set up the Capacity Building Program for Culturally Specific Arts Organizations, which offers mentoring services to the leaders of 35 African American, Latino, Asian American and Native American arts groups from across the United States.

It is this compulsion (plus a major Kennedy Center festival of the arts of Arab lands, planned for early 2009) that took him last March to a Kennedy Center-sponsored symposium in Cairo at which he presented a workshop to 140 arts administrators from 17 Arab nations.

"One thing we learned," he says, laughing lightly, "is that not all Arabs like each other that much."

Kaiser's spiel to foreigners includes an admission that most countries get their fill of American culture, be it through TV, movies, popular music or computer games. It also includes a brief history lesson: "The Puritans founded the United States, and they were not big fans of the performing arts, so we never had central government support, and we've had to develop alternate sources. That kind of expertise is something we can export."

What kind of expertise is he talking about applying overseas? One example: During his brief tenure at the Royal Opera, he raised $100 million in 18 months, thus delivering the dangerously debilitated institution a robust future.

At the Cairo symposium, George Ibrahim, the director of Ramallah's Al-Kasaba Theater and Cinematheque, posed a challenge. Kaiser recalls: "George is very sophisticated and stood out among the group. He challenged me: 'How much of this do you really think can work in Palestine? I would like you to come and see our reality.' And I said, 'Fine, I'll come.' I'm not sure he believed me."

He should have. When Kaiser accepted Ibrahim's dare, he was simultaneously involved with major long-term projects in China and Mexico, planning a Latin American symposium in Buenos Aires for next April, and continuing to consult for any number of arts institutions, including South Africa's Market Theatre (not to mention the Arab arts festival, which will bring artists from 22 nations to the Kennedy Center). So it was that on a recent Saturday morning, Ibrahim, a genial, barrel-bellied actor, scriptwriter, translator and theatrical impresario, picked Kaiser up at Tel Aviv's Ben Gurion airport and drove him the short geographical distance and long conceptual voyage to Ramallah, the cultural capital of the Palestinian territories.

The day before had been spent getting to know the landscape, both human and topographic. Kaiser was driven around the town, so that he could get to know the place. He met with a number of arts leaders to learn about the challenges they face.

Ramallah is a low-slung desert city sprawling over innumerable soft hills and valleys, flooded with light. If anything, it resembles Jerusalem, its neighbor about nine miles to the south: Jeans-clad men amble its dusty streets with cigarettes dangling from their mouths, hot roasted peanuts are sold from carts in huge piles, and schoolgirls in uniforms and hair-coverings march obediently behind their teachers. A majority Christian city, it is both traditionalist and ready for change. Most of the few women seen in the downtown crowds are covered by headscarves, but the Ramallah city council recently voted a Christian, Janet Michael, as its first female mayor.

Kaiser held individual assessment sessions on Saturday with almost everyone associated with Al-Kasaba, from actors through administrators to members of the board, each for about 45 minutes. The sessions were all in English. By the end of the day, he had four pages of densely and methodically scribbled notes. One example, "Why only 1,000 people on e-mail list?"

"E-mail is an obvious, cheap way of reaching people — 500 or 600 people come to this theater most nights; there is no reason you can't raffle off a dinner at the restaurant to people who fill out their e-mail address and get this list up to maybe 10,000 people with very little effort," he said before adding: "But look, I've been here 24 hours. I barely know the place."

Al-Kasaba was founded in June 2000, as an offshoot of a theater troupe that had its roots in Jerusalem in the early 1970s, when Ibrahim was an Israeli superstar: At age 21, he was Sammy in "Sammy and Susu," a pioneering children's TV program that drew universal devotion from both Arabic and Hebrew speakers.

Today, Al-Kasaba is at once a remarkable success and a struggling enterprise. In addition to offering original works in Arabic, created for the theater, and foreign plays that have been translated and adapted, it contains the only regularly functioning cinema in all the Palestinian territories (four film screenings a day, with films ranging from popular Egyptian blockbusters to refined international fare), a fashionable restaurant and a pub distinguished by a sensual, undulating wooden bar laden with bottles.

But Al-Kasaba faces problems both specific and universal. Specifically, roadblocks prevent much of its West Bank audience from attending events; the Palestinian economy suffers from an endemic lack of predictability; political events can override any cultural ambition; and theater is not an integral part of local culture. And, as is true in more and more countries, it is also more and more difficult to get people out of the house. Potential audiences prefer the laze of cyber-surfing, cable, rental DVDs and living room music systems.

To add to the challenges, Ibrahim wants to open a theater arts school. In fact, he wants to double Al-Kasaba's expenses in the next three years, an ambition not necessarily shared by the many international and few local organizations that fund most of his projects.

Ibrahim and Kaiser cemented a long-term relationship during the visit. The Kennedy Center and Al-Kasaba will co-produce a work for young people and the theater will be part of the Arab Festival in two years. Kaiser will consult with Ibrahim, especially on the fundraising.

Ibrahim says he wants to bring Al-Kasaba, eventually, to a point where the artists can think only about art and not "about paying the rent and the bills and whether or not we can survive next year." To this end, before Ibrahim's encounter with Kaiser, Al-Kasaba already was working on a long-term strategic plan.

One of the things Kaiser said when he sat down with the assembled staff at Al-Kasaba on Sunday, at the workshop/meeting called for 10 a.m., was that the goal is "great art well marketed."

"Very few arts organizations are as professional and sophisticated as this organization — you are very impressive in the quality of your work, in the knowledge of staff about your areas. This is one of the things I am concerned about for Palestine and frankly for most countries.

"I'm interested in role-model organizations — I'd like to see your excellent organization become a role model, organizationally and artistically, not just for Palestine, but for much of this part of the world. You've got a great product, wonderful art. Believe me, this is not something I can say at many of the places I visit. But the marketing is so episodic! And you've got no one doing press. No one! How can anyone know what you are doing? I mean, oy." His head fell briefly to his hands.

If Kaiser is the prophet of well-run arts organizations as harbingers of national renaissance, it is, he says, a homage to Barney Simon, the founder of Johannesburg's Market Theatre, whom he met in late 1994 when he was a New York-based consultant to arts organizations.

"The Rockefeller Foundation asked me to travel to South Africa for three weeks, and just as I was reading a New York Times article about Barney Simon, Barney Simon called on the phone. The only time we could meet was midnight the next day. We ended up talking until 4 in the morning."

Simon died in 1995, but the Market Theatre has become one of new South Africa's showcase cultural jewels. Kaiser came to believe in art as a form of human liberation. "Art is really one of the only ways people can get to know each other," he says. "You don't get to know anyone through reading about politics. You get to know someone through learning about what worries him, what he finds beautiful. When I brought the Baghdad Symphony Orchestra to the Kennedy Center, most people said simply that they did not know Iraq had a symphony."

"Michael Kaiser is a dynamic and impressive leader for the Kennedy Center," says Sen. Edward Kennedy, who sits on the organization's board. "He is also a tireless advocate for broadening worldwide understanding of the important role that the arts have in all of our lives. He is a truly wonderful ambassador for the arts and for America."

Late Sunday night, after dinner, Ibrahim ferried Kaiser back to Tel Aviv for a few hours repose before a dawn flight back to Washington.

And that is a weekend in the life of Michael Kaiser.

“Peace Drum”: A School of Arts Approach to Peacebuilding

“Peace Drum”A School of Arts Approaches to Peacebuilding

Why “Peace Drum?” History and current experience shows that so deep are the pains of most of the conflicts experienced in the global south that the popular individualized, reductionist and rationalistic approaches to healing and transformation simply lack the language and resources to solidly address the challenge of holistic peaceful transformation. “Arts approaches” provide an accessible language, compelling processes that affirm everyone’s creativity and, above all, an inclusive space that enables healing, genuine dialogue and transformation to happen particularly where the violent conflicts and pains are experienced by masses of people. In the spirit of “Ubuntu” and inspired by the indigenous African motif of the “drum,” Peace Drum  will “drum up” a most significant call to artistes-peacebuilders and peoples in the global south to take greater leadership in intentionally and imaginatively transforming ideologies of violence and, above all, (re)constructing a narrative of justpeace. In this quest, Peace Drum will provide a rich, inclusive and challenging forum for reflective practitioners to celebrate their creative richness; critically and deeply engage; dream and act jointly in producing alternative cultural products and in shaping new narratives of justpeace. Hosted by Ubuntu Arts, Peace Drum will bring together 20 committed artistes-peacebuilders – including educators, development workers, community animators and cultural activists – from the global south who continue to apply various shades of arts approaches in their social change work. The 2-week intensive program of applied training, performances, exhibitions, and direct skills-building experience will take place in Nairobi, Kenya, between September 17 and 28, 2007.  A select number of the participants will be awarded partial scholarships to attend the school. However, all participants will cover their return travel either to Jomo Kenyatta International airport or Nairobi city. Please email your applications to the Coordinator, Peace Drum, at ubuntuarts@gmail.com by 10 August 2007. 

The Paths  Before the sun sets, “Peace Drum” envisions that, together, we shall:  ·         enhance our understanding, through applied training and incisive reflection, on the nexus between the arts and peacebuilding/peace education·         offer a critical challenge to existing assumptions and values in peace theory and practice ·         draw upon various artistic traditions and explore several artistic forms for individual and group reflection·         undertake comprehensive documentation – in print and electronic media – of the unique experiences and lessons in contemporary arts approaches to peace work;·         develop a reader including writings by the trainers and participants on arts approaches, as well as collection of cultural resources (music, video, film, literature, etc.)·         strengthen existing initiatives on arts approaches to peacebuilding through support structures and sharing of resources·         build a solid platform for a movement of artistes, cultural workers and peace workers who can initiate, develop and implement collaborative programs on arts approaches·         develop performance pieces and other cultural products as resources for peacebuilding/peace education      

Facilitators The facilitation team will comprise select members of Ubuntu Arts as well experienced artiste-peacebuilders from other parts of the global south. A full list of facilitators will be announced by the end of August 2007.  Babu Ayindo from Kenya, who has extensive experience in applying “arts approaches” to peacebuilding in the various parts of the world will function as lead facilitator while Dessa Quesada-Palm from the Ph
ilippines
will serve as Consultant Advisor of the Peace Drum on curriculum design and development and  program evaluation.  

Course Outline Week One: (17 – 22, September 2007) Theme: Indigenous Arts, Forum Theater and Community Based Peace Education Indigenous Arts and Philosophy of PeaceStorytelling, Dance and Peace Visual Arts, Ritual and HealingIndigenous Arts and Forum Theater  Week 2: 24 – 28, September 2007 Theme: Integrated Arts Approaches in Healing, Dialogue and Transformation  Integrating Indigenous Arts, Playback Theater and Forum Theater Integrated Arts, Advocacy and DialogueDesigning and Facilitating Community Based Arts and Peace programs 

Ubuntu Arts Peace Drum is an initiative of Ubuntu Arts, a team of artistes keen to share their talents and committed to creative transformation. The spirit of their art is tapped from the enduring wisdom of the Zulu nation: umuntu ngumuntu ngabantu translated as “a person is a person through other persons.” Ubuntu Arts follows the paths of artistes of African descent who have transformed and sustained life through innovating ways designed to retain balance and harmony amongst peoples and all creation. In light of contemporary challenges, Ubuntu Arts affirms the role and responsibility of all humans as creative makers of culture; therefore, Ubuntu Arts endeavors to evolve a (re)humanizing aesthetic that stretches imagination and deepens dialogues in confronting new questions, new challenges. Ubuntu Arts’ programs intentionally build on peoples and community’s indigenous resources and reflective capacity in the envisioning, self-education and social action.   

Ubuntu Arts Team Paschal Wafula (Coordinator);Babu Ayindo (Artistic Director);Carol Okello (Office Manager);Philomena Waithira; Alfred Kibunja; Rispa Were; Wilfred Kioko and Oliver Mbayi ___________________________________ Ubuntu ArtsPO Box 13695 GPO00100 NairobiKENYAubuntuarts@gmail.com

Northern Uganda: Peace and Reconciliation Conference in March 2008 seeks artists

Greetings!   

We join you in your struggle in working towards global peace through the use of Art.

We have used and are still using art in the struggle to spread awareness and prevention of HIV/AIDS Uganda that
is using music, dance and drama. Apparently we're considering to apply Art into our Reconciliation & Forgiveness program in the 20 years war ravaged Northern Uganda.

We're organising a Peace and Reconciliation Conference in March
2008, we need artists committed to advocating for peace through art who
can come and share with the people of Northern Uganda the message of
reconciliation through art. For further details you can visit our website
at www.aymu.org

We have programs running on community based conflict
resolution through the various sports programs we implement. For further
details you can visit the attached links below:-

1. Tackling AIDS Through Sport www.aymu.org/kick
2. Make Malaria History Through Sport www.aymu.org/malaria.htm
3. Mines Risk Education Through Sport www.aymu.org/mines.html
4. Promote Girls Sport www.aymu.org/girl/girl.html
5. 2006 world AIDS Day sports activities www.aymu.org/wad.html

For more information contact:

Albert Kunihira
Country Director/Peace Ambassador & AIDS Activist
The Africa Youth Ministries
P.O. Box 20029 , Kampala , Uganda
T: +256-752-200002/256-414-287151
E: admin@aymu.org  or info@aymu.org

ARTS IN THE ONE WORLD: CURRICULA AND AGENDA at CalArts

CalArts (California Institute of the Arts) will hold its Third Annual ARTS IN THE ONE WORLD conference on the CalArts campus in Valencia, California. 

Arts in the One World: Curricula and Agenda A drawing together of schools and institutions offering degree/training in politically purposed art, broadly defined… And the definitions as they are emerging are innately broad – art and justice, art and social issues, art in the community, performance and public policy. Essentially – how are we trying reposition art’s starting point, its aim, it’s situation in culture at large, and – how is this exploration entering education? What are the emerging changes to curricula? Discussion expands to include practical examples of artists who are enacting this repositioning. A sub-theme: social networking. How are artists finding other artists? Making communities of audiences and vise versa? The third annual Arts in the One World Conference will take place on the Campus of the California Institute of the Arts,January 24-27, 2008 The conference is hosted by the theater school, is conceived and executed in collaboration with the broad participation of the Institute as a whole, invites students and faculty from institutions around the world, and is open to the general public. Our partner in hosting and building the event is the Interdisciplinary Genocide Study Center (Rwanda), our sister library in Kigali – where the Tutsi genocide is researched, testimony is gathered, negationism is resisted, and a social space for survivors is afforded. 

The Arts in the One World gathering is the local anchor of an ongoing artistic exchange CalArts conducts with the Interdisciplinary Genocide Studies Center in Rwanda. Each summer a group of students, faculty, and professionals in the field travel to study the genocide and explore the ways in which art practice may participate in the processes of recovery.

 

Keynote Performance: Jeans Generation, by the Belarus Free Theater

 

The Belarus Free Theatre and its audience were recently arrested – up to 60 spectators, the actors, managers, and directors of the Free Theatre (including three children of 6, 7, and 8). On August 22, members of three different special forces operations (OMON, KGB, and the district police) entered a rented facility where the Free Theatre was set to perform.

 This act of harassment and intimidation in connection to the Belarus Free Theatre and its friends is just regular attempt in a row of many cases of harassment like dismissals of actors, directors, sending down of theatre manager, closing down clubs where Free Theatre performed, etc. According to the Geneva Convention, it is ‘Prohibition of Profession.’“The Belarus Free Theatre wants to assure that we will not stop our activities and we would continue to promote human values by means of theatre.

“We appeal to all our friends to support freedom of Expression and Assembly in Belarus.”

 

Sincerely,

Natalia Koliada – Director and co-founder of the Belarus Free Theatre
Nikolai Khalezin – Art-director and co-founder of the Belarus Free Theatre, playwright
Vladimir Scherban – Belarus Free Theatre Director

 

 

FOR MORE INFORMATION:
Conference Organizer – Heather Lawson hlawson@calarts.edu
 

Emergency Playback Theatre Europa

Emergency Playback Theatre Europa
A training seminar taught by Jonathan Fox in Máriahalom, Hungary from
September 14-17, 2007
When disaster strikes, people desperately need a forum to share their
stories, and playback theatre can be a wonderful resource. The purpose of
this workshop is to acquire tools for delivering playback theatre to
communities suffering from a natural or civil emergency.
It will help you know what needs to be done practically, ethically, and
artistically to fulfill playback theatre’s potential to serve a people in
crisis. Jonathan’s teaching will be informed by learning from the recent
Playback Theatre Katrina Relief Project in New Orleans.
For more information, email the Centre for Playback Theatre:
playbackcentre@hvi.net or visit web site: www.playbackcentre.org.
****************
Jonathan Fox, Director
Centre for Playback Theatre
School of Playback Theatre
PO Box 714, New Paltz, NY 12561 USA
Tel: 1845 255-8163 Fax:1845 255-1281
www.playbackcentre.org

TWB & CI at Brandeis University

Coexistence International (CI) at Brandeis University and Theatre Without Borders are convening a gathering of international theatre artists and coexistence scholar/practitioners on the Brandeis campus from October 5-8, 2007. The primary purpose of the gathering is to further work on an anthology, Performance and Peacebuilding in Global Perspective, which will be completed in 2008. A brief description of the anthology is attached, along with brief biographies of the contributing artists. In conjunction with this gathering, we are bringing to Brandeis and the Boston area two actors from Yuyachkani, a distinguished independent theatre in Peru, the winner of that country’s 2000 National Human Rights Award. In several different venues at Brandeis, Yuyachkani members Ana Correa and Augusto Casafranca will perform works, share documentaries and discuss the contributions of Yuyachkani to Peru’s Truth and Reconciliation process.  Our proposed schedule calls for them to conduct workshops on Thursday, Oct. 4th, and Sat. Oct. 6th and to perform on Friday, October 5th in an open session of two Brandeis classes; Saturday, October 6th in an event targeted to members of the Waltham area Latino communities; and as part of a symposium on Sunday, October 7th in the late afternoon.

 

On Sunday, October 7th, CI will host Pieces of the Coexistence Puzzle: Part II.  We will convene several problem-solving workshops that will engage artists, peacebuilding and coexistence scholar/practitioners and sustainable development workers in conversations designed to explore creative and complementary approaches to particular problems. Topics will range from improving inter-ethnic relations in post-war Serbia, to reducing violence in Sri Lanka, to strengthening immigrant communities in Waltham. Masters students in Cultural Productions, Coexistence and Conflict, Sustainable International Development and the arts will be invited to join these workshops. Participation will be by invitation only.

 

Also on Sunday, October 7th, at 4 p.m. we will convene a short public symposium on the topic “Art vs. Politics and Other False Dichotomies.” The keynote presentation will be a performance of Adios Ayacucho by Yuyachkani. This will be followed by a panel of international theatre artists and cultural workers including Dijana Milosevic of Serbia, Charles Mulekwa of Uganda, Eugene van Erven from The Netherlands, and Polly Walker, who works with Native American and Australian Aboriginal elders on reconciliation rituals. The panel will be followed by dinner and final reflections on potential collaborations among the coexistence, sustainable development and performance fields.

 

In addition, on Friday, October 5th and Monday, October 8th, participants in the anthology projects will be presenting in open sessions of Brandeis University classes in a number of different departments and programs, including University Writing Seminars (USEMS); Politics Department; Anthropology and Cultural Production MA Program; Latin American and Latino Studies; Near Eastern and Judaic Studies; Peace, Conflict and Coexistence Studies; Theatre Department; Women and Gender Studies; and the MA Program in Coexistence and Conflict.

 
For more information about participating in the public events or arranging an opportunity for engagement with a participant, please contact Jennie El-Far, elfar@brandeis.edu
 
Coexistence International and Theater Without Borders present: 
Acting Together on the World Stage: Setting the Scene for Peace Actuando Juntos: Trabajando Por la Paz en el Escenario Mundial 
Performances, workshops and conversations exploring performance and peacebuilding in global perspective 

October 4 – 8, 2007

Brandeis University, Waltham MA 
FeaturingGrupo Cultural Yuyachkani
At the Vanguard of Latin American Theater” Recipient of the National Human Rights Award of Peru and renowned for their artistic accompaniment of the Truth and Reconciliation Commission and Distinguished Theater Artists and Coexistence Practitioners from conflict regions around the globe  For complete and up-to-date information, please visit http://www.brandeis.edu/coexistence           
 
In divided communities and conflict regions around the world, theater artists and cultural workers are contributing to sustainable coexistence and development. Performances are being crafted to facilitate relationships across the lines of enmity. Theatrical works are mediating between competing historical narratives. Theater and ritual are supporting communities to acknowledge violations of human rights, to mourn losses, and to empathize with the suffering of the other.  In the aftermath of violence, theater artists and cultural workers are negotiating the complex ethical terrain inscribed by memories of the past, imperatives toward justice, and desires for peace. These performances operate in a number of different settings, ranging from mainstream art theater, to community-based participatory projects, to coexistence workshops that use theatrical techniques, to adaptations of traditional rituals performed in explicit reconciliation ceremonies. Performances can engender transformations in consciousness, social relations, cultural practices, and legal arrangements. Coexistence International at Brandeis University and Theater Without Borders are proud to host on the Brandeis campus a gathering of international theater artists and coexistence workers to celebrate the accomplishments and explore the challenges and dilemmas of this work. For this gathering, we are delighted to introduce Brandeis and the Boston area to two actors from Yuyachkani, a distinguished independent theater in Peru, and winner of that country’s 2000 National Human Rights Award. The ensemble combines European theatrical forms and performance traditions from Peru’s indigenous communities.  While at Brandeis, Yuyachkani members Ana Correa and Augusto Casafranca will perform works, share documentaries, lead workshops and discuss how the ensemble created a bridge between Peru’s Truth and Reconciliation Commission and the indigenous rural communities that had suffered many violations of basic human rights. ‘Yuyachkani’ is a word in the Quechua language that has been translated “I am thinking; I am remembering.” Joining us for this gathering are equally distinguished community cultural workers, playwrights, actors, directors, dramaturges, and coexistence practitioners from Argentina, Australia, Cambodia, Ghana, the Middle East, The Netherlands, Serbia, South Africa, Sri Lanka, Uganda, and the United States.  They will share their insights and their questions in open sessions of Brandeis classes, at the symposium, and in informal conversations throughout the long weekend.We also extend a warm welcome to members of Waltham-area’s Spanish-speaking communities, who will bring their stories and their desires for lives of greater safety and security into our conversations and workshops. We are pleased to see that this gathering itself embodies our mission to facilitate coexistence, as we strengthen relationships among students, staff and faculty at Brandeis and our neighbors. We are discovering how much we have to learn from each other, and how invigorating our friendships can become. Acting Together on the World Stage/Actuando Juntos explores how theater and ritual can engage people in embodied experiences that open possibilities for new insights and new relationships. Please join us!   

Acting Together on the World Stage: Setting the Scene for Peace

Brandeis University October 4 – 8, 2007 
Events are free, accessible and open to the public except where noted. 
Thursday, October 4th ·               6:00 – 9:00 p.m. – Workshop with Ana Correa of Yuyachkani on “The Creative Use of the Object.” The Lurias, Hassenfeld Conference Center. Open to theater students and members of StageSource. Observers welcome. Space is limited.           Contact elfar@brandeis.edu for reservations.  
Friday, October 5th    
10:40 a.m. -1:30 p.m. Presentations in open sessions of Brandeis classes 
10:40 a.m. -12:00 p.m.·        “USEM: From Colonies to States,” Professor Eva Thorne. Shapiro Campus Center Multi-Purpose Rm. Guest presenters: Roberta Levitow, Charles Mulekwa·         “USEM: Trials of Truth, Power, and Justice,” Professor Eugene Sheppard, Shapiro Campus Center Art Gallery. Guest presenters: Lee Perlman, Catherine Filloux·        “Improvisation,” Professor Adrianne Krstansky. Participants will include several members of Waltham Family Literacy Program Location: 60 Turner St., Basement studio. Guest presenter: Kate Gardner 
12:00 -1:30 p.m.·        Performance in open joint class session of Professor Gordie Fellman’s “War and Possibilities of Peace,” and Mark Auslander’s “Making Culture.” o       Rosa Cuchillo (with English translation) by Ana Correa of Yuyachkani. Great Lawn. Rain location: SCC Theater. Followed by the showing of a video documentary on Yuyachkani’s work with Peru’s Truth and Reconciliation Commission and discussion in the Shapiro Campus Center Theater·        “USEM The United States and Africa,” Professor Ibrahim Sundiata. Location: Shapiro Campus Center Rm. 313. Guest presenter: Daniel Banks 
Saturday, October 6th
3:00-5:30 p.m. – Workshop on storytelling and gender justice in Waltham with Ana Correa and Augusto Casafranca of Yuyachkani; Mithra Merryman, Greater Boston Legal Services; Karla Zevallos Community Advocacy Director at REACH and President of Breaking Barriers; and members of the local Latina/o community. Shapiro Campus Center Atrium. Dinner and childcare will be provided.  
6:00 p.m. ·        Performance of Rosa Cuchillo by Ana Correa. Shapiro Campus Center Theater. Performance in Spanish with English translation provided. ·        Followed by presentation of Alma Vida video documenting Yuyachkani’s work with Peru’s Truth and Reconciliation Commission ·        Community conversation on the implications of the play in terms of gender empowerment, storytelling, and reconciliation in Peru and Waltham. Open to members of Waltham’s immigrant community, the Brandeis community, and members of StageSource.  Admission is free but tickets are required, please contact Brandeis Tickets (781) 736 3400, or visit our website www.brandeis.edu/coexistence  
Sunday October 7th
10:00 a.m. – 3:00 p.m.  Pieces of the Coexistence Puzzle: Part 2. Small problem-solving laboratories in which artists, coexistence/peace building practitioners, policy makers, sustainable development workers and students in these fields meet together to think creatively about a problem in a particular community or conflict region, bringing the perspectives of their various disciplines. Graduate students in Coexistence and Conflict; Cultural Productions; Sustainable International Development and the Arts will be invited to participate in these problem-solving labs. Participation is by invitation only. Lunch will be provided. Action plans and recommendations will be developed in relation to:  
·        Inter-ethnic relations in post-war Serbia,
·        Safety among immigrant communities in Waltham, MA
·        Inter-ethnic violence in Sri Lanka
·        Iranian, Israeli, and American relations
·        Incarceration
·        Transitional justice efforts in West Africa and Uganda                                                                                                                                     
·        3:00 -7:30 p.m.  Art vs. Politics and Other False Dichotomies: an evening symposium of performance and conversation. Merrick Theatre, Spingold Theater Center.
·        3:00 Welcome and introduction to contextual frame for understanding Yuyachkani’s performance by Diana Taylor
·        3:30 Keynote performance of Adios Ayacucho by Augusto Casafranca. Musical accompaniment by Ana Correa. This event is not accessible for people in wheelchairs. Admission is free and open to the public, but tickets are required. Please contact Brandeis Tickets (781) 736 3400, or visit our website www.brandeis.edu/coexistence
·        4:30 Conversation with Yuyachkani artists, moderated by Roberto Varea and Fernando Rosenberg.  
·        5:00-5:30 Reception/intermission. Dreitzer Gallery.
·        5:30-7:00 Reflections on linkages among theatre, sustainable development and the coexistence field. Panel addressing the nexus of art and politics, moderated by Kevin Clements, Director Australian Center for Peace and Conflict Studies and Erik Ehn, Dean of the School of Theatre at Cal Arts. Speakers include : ·        Eugene van Erven, The Netherlands ·        Dijana Milosevic, Serbia ·        Charles Mulekwa, Uganda 
   Monday, October 8th
·        2:10-5:00 p.m. – Open sessions of Brandeis classes
·               2:10-5:00 p.m. – “COEX 240, Dialogue and Mediation” Professor Theodore Johnson.  Guest presenter: Dr. Kevin Clements, Australian Center for Peace and Conflict Studies. “Political Hybridity: Combining Customary and Modern Forms of Governance: Experiences in the Asia Pacific Region.” 
·               2:10-3:30 p.m. –  “Women and Gender in Culture and Society.” Professor Harleen Singh. Guest Presenters: Aida Nasrallah, Catherine Filloux, and Eugene Van Erven
·               3:40-5:00 p.m. –“Israeli Theatre” Professor Bracha Azoulay’s “Israeli Theater.” Guest Presenters: Lee Perlman, Aida Nasrallah, in Hebrew.     
 
Performance and Peacebuilding in Global Perspective

Brief Description of the Anthology
 In conflict regions around the world, theatre artists and cultural workers are contributing to sustainable peace and coexistence. Performances are being crafted to facilitate relationships across the lines of enmity. Theatrical works are mediating between competing historical narratives. Theatre and ritual are supporting communities to acknowledge violations of human rights, to mourn losses, and to empathize with the suffering of the other.  In the aftermath of violence, theatre artists and cultural workers are negotiating the complex ethical terrain inscribed by memories of the past, imperatives toward justice, and desires for peace. These performances operate in a number of different settings, ranging from mainstream art theatre, to community-based participatory projects, to coexistence workshops that use theatrical techniques, to adaptations of traditional rituals performed in explicit reconciliation ceremonies. What they have in common is their ability to engage people in embodied experiences that open possibilities for new insights and new relationships. Performances can engender transformations in consciousness, social relations, cultural practices, and legal arrangements.Performance and Peacebuilding in Global Perspective is an anthology that will document
and reflect on promising contemporary examples of compelling performance works directly
linked to restoring active participation in civil society, and to facilitating the construction of peace. It will consist of case studies that will situate performances in their relevant historical, social and political contexts. The case studies will describe final productions as well as the processes leading up to them, assess their impact, and evaluate their contributions to establishing sustainable peace in their region of the world. The volume is designed to be a resource for artists, cultural workers and peacebuilding practitioners working in conflict regions, as well as for scholars and students of Performance Studies, Conflict Transformation, and related fields.
The Anthology’s editors intend for this book to strengthen and help legitimize an
emerging, dynamic international movement linking performance and peacebuilding, by sketching the contours of a body of theory and practice; identifying the paths of connectivity between artists, peacebuilding practitioners and policy makers; creating opportunities for critical reflection; and highlighting the movement’s achievements and its promise. We expect to complete the manuscript in the summer of 2008.

The book is co-edited by Dr. Cynthia Cohen, Executive Director of the Slifka Program in
Intercommunal Coexistence and Director of Coexistence Research and International Collaborations at Brandeis University; Ms. Roberta Levitow, founder of Theatre Without Borders, and a noted American theatre director who, as a senior Fulbright specialist, has
worked with emerging theatre artists in Romania, China and Uganda; Roberto Varea, director of the Performance and Social Justice Program at the University of San Francisco; and  Dr. Polly Walker, a research associate and conflict resolution trainer affiliated with the Australian Center for Peace and Conflict Studies at the University of Queensland, who is an expert on Native American and Aboriginal reconciliation rituals.

 
 Theater artists, cultural workers and coexistence practitioners: 
Dr. Daniel Banks, Professor and Director of the Hip Hop Theater Initiative, Tisch School of the Arts, New York University 
Dr. Kevin Clements, Professor and Founding Director, Australian Center for Peace and Conflict Studies, University of Queensland, Brisbane, Australia 
Mr. Erik Ehn, Dean for the School of Theater, Head of Writing for Performance Program, California Institute foe the Arts 
Ms. Catherine Filloux, Accomplished playwright whose work explores themes of reconciliation and intercultural connection, expertise in post-genocide Cambodia 
Ms. Kate Gardner, Founder, Community Theater Internationale 
Ms. Roberta Levitow, Founder of Theater Without Borders 
Ms. Ruth Margraff, Associate Professor of Playwriting, The School of Art Institute, Chigago 
Ms. Dijana Milosevic, Artistic Director, Dah Theater and Research Center, Belgrade, Serbia 
Mr. Charles Mulekwa, award winning playwright, actor, and director with National Theater of Uganda 
Ms. Aida Nasrallah, Palestinian-Israeli author and poet who focuses on women’s roles as peacebuilders 
Mr. Madhawa Palihapitiya, native Sri Lankan, Program Officer for Dispute Resolution, Massachusetts Office of Dispute Resolution 
Mr. Lee Perlman, Director of Programs, Abraham Fund Initiatives; Lecturer, Tel Aviv University, Israel 
Dr. Eugene Van Erven, Senior Lecturer, Researcher, Utrecht University, the Netherlands; Author of Radical People’s Theater, The Playful Revolution: theater and liberation in Asia, and Community Theater: Global Perspectives. 
Mr. Roberto Varea, Founder and Artistic Director, Soapstone Theater Company; Professor of theater and co-founder of Performing Arts and Social Justice major, University of San Francisco 
Dr. Polly Walker, peacebuilding/coexistence practitioner, Australian Centre for Peace and Conflict Studies, University of Queensland, Brisbane, Australia 
For information please visit our website: http://www.brandeis.edu/coexistence, or contact: Jennie El-Far, elfar@brandeis.edu, or (781) 736 2617