The art of inclusion: Contradictions affecting theatre for development interventions in Malawi

Abstract

In development, there have been a considerable number of calls from academics, practitioners, nongovernmental organizations (NGOs), community leadership, and grassroots activists to ground development principles and efforts in people’s own experiences, using their own cultural resources. It is important because grounding development in people’s own experiences represents a shift away from the paternalism of the past and recognizes the lived realities of beneficiary communities and, consequently, gives development initiatives a higher chance of succeeding. To do this requires the use of inclusive practices. In short, inclusive practices offer a platform for working with local communities as vital partners in development, rather than passive recipients. Despite the popular theoretical awareness of the importance of inclusive community work and the willingness of implementers, practical applications on the ground have proven to be more challenging. This chapter reflects on these challenges through a discussion of how facilitators and practitioners of Applied Theatre, specifically Theatre for Development, have approached HIV and AIDS interventions. Drawing on five instances from a Theatre for Development project implemented in Malawi in 2011, the discussion explores how inclusivity is affected by external formation and origins of projects, the internal external dynamic, assumptions of commonality, choice of mediums for engagement, and participation of communities at process vs. product stage of the intervention. The chapter also offers a summary of key lessons on inclusion from the project/discussion and possible suggestions for a meaningfully inclusive TFD practice.