UKZN students’ perceptions of the Traditional Healers in the documentary, Deadly Myths.

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Shooting ARROW Images: A reception analysis of ARROW SA youth’s perceptions of Palestinian youth

ABSTRACT

The arts for reconciliation have been used increasingly in recent years as a vehicle for bridging cultural divides, celebrating diversity, promoting cross-cultural dialogue and understanding, and challenging stereotypes (Oddie, 2005). The ARROW programme (Art: A Resource for Reconciliation Over the World) is an emerging network of people, organizations and institutions with an interest in and commitment to developing the creative arts as a resource for such participatory conflict transformation processes (Oddie, 2005: 22). ARROW hubs are located in the United Kingdom (UK), Kosovo, Palestine, South Africa (SA), Sierra Leone and Rwanda.

This study investigates the efficacy of an ARROW SA intervention about Palestinian youth (Who are we? Who are you? A Journey to Palestine with ARROW) in altering some of the perceptions that ARROW SA youth of Bechet Secondary School in Sydenham, Durban may have of Palestinian youth. With greater insight into the effects that such interventions have on young people, ARROW may be able to increase the likelihood of participants decoding intervention material in the manner intended (Hall, 1980). Essentially, the study seeks to determine whether ARROW SA youth are able to identify with Palestinian youth as a part of their ingroup.

July 2008

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A Comparative Analysis of the Efficacy of a Once-Off Forum Theatre Intervention and Weekly Ongoing Workshops used by DramAidE

Abstract

The methodology used in communication for development has changed in the last 30 years from a linear top-down approach to a more inclusive participatory model of communication as dialogue in which ideally all stakeholders are involved (Parker, 1997). During the same period the related field of Entertainment-Education (EE) has undergone similar changes in its audience approach (Tufte, 2005). One aspect of EE is the use of drama for social purposes which is practiced by DramAidE, a “project [which] uses drama methodologies to critically engage young people to communicate effectively about issues relating to sex, sexuality and HIV/AIDS” (DramAidE.co.za). DramAidE currently has two projects with very differing levels of audience participation. The one consists of a Forum Theatre play held at many schools for a once-off intervention and the other, an ongoing series of weekly workshops with the same students participating each time. In this paper I examine how drama is used in each case and compare how different levels of the participants’ involvement in the interventions affect their life style choices. This analysis helps to draw conclusions about the effectiveness of each of the two interventions examined according to DramAidE’s stated goals “to equip young people with increased knowledge about HIV/AIDS and the skills to inform and communicate with others about sexual health” and “to create a network of peer educators that practice safer sex and other positive behaviours, and initiate a social movement that promotes healthy lifestyles” (DramAidE.co.za).

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AN EVALUATION OF HEALTH PROMOTERS’ PEER EDUCATION PROGRAMME ADMINISTERED AT THE DURBAN UNIVERSITY OF TECHNOLOGY

July 2008

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An adaptation of DramAidE materials to be used with senior secondary Indian learners from the Durban area – to measure the educational awareness and behavior patterns in relation to HIV/AIDS

Submitted in partial fulfillment of the requirement for the degree of Honors in Bachelor of Social Science in the Schools of Cultural Communication and Media Studies (CCMS) and Media and Cultural Studies (MCS) at the University of Kwa-Zulu Natal.

June 2008

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