|
الأسلحة الكيميائية وحقيقة استخدامها في السودان في منتدى ميديكس للحوار
|
|
 Re: اذاعة صوت أبيي..صوت دينكا نقوك على هواء مباشرة!!! (Re: JOK BIONG)
|
الأخوة الشرفاء الاحرار في كل ربوع سوداننا..اذاعة صوت أبيي.. صوت ترفض الحروب القبلية بين دينكا نقوك والمسيرية والجعليين حول حقول النفط!!نناشدكم جميعا بان تقدموا اقتراحاتكم قبل البث!صوت أبيي لسان حالنا!صوت أبيي تقول للهؤلاء الطغاة :خذوا كل موارد النفط واتركونانعيش في السلام والامان لنعيد زراعة شجرة (شواي أياك أجانق )في مكانتهارمز السلام والوئام بين أهل المنطقة.على الهواء مباشرة قريبا!
| |
 
|
|
|
|
|
|
|
 Re: اذاعة صوت أبيي..صوت دينكا نقوك على هواء مباشرة!!! (Re: عبد الواحد أبراهيم)
|
Sudan University of Science & Technology
Peace Culture Center PCC
I can present Peace Culture through Drama in English & Arabic
Please find :
Development drama for Peace Culture Abyei experience
Thank you
Peace,
Gor
__________________________
Developmental Drama / Theater
In Peace Training
** State of Western Kordofan /Alfola
** State of Western Kordofan /Abyie
** State of Southern Darfur / Aldeain
**State of Southern Kordofan / Kadogli
**State of Southern Kordofan / Kadogli (Conferans)
** State of Southern Kordofan/Aldalang
** State of Upper Nile /Rank
** State of Upper Nile/ Malakal
Dr. Abulgassim Gor
2002 May
Introduction on Developmental Theatre
Problems are inherited but solutions can be generated. The developmental theatre is a solution invented through the utilization of cultural models and the various creative races among the groups of human race in an endeavor to activate the element of human development in order to convey some developmental significances such as building, education, health, environmental protection and the pervasion of the abridged peace culture within the culture elements of those nations. The dramatic ‘process which we call the expression of the developmental drama theatre requires a high intellectual flair and a rich creative imagination besides a through knowledge of the ideas and the morals of people and the various human groups targeted by the development programme. All this must be associated with a burgeoning dramatic talent because the drama theatre deals with the cultural components, the artistic and creative shapes possessed by the different people and the various tribal groups.
Dr. Mumrna, Qpio, professor of drama at the University of Nairobi in Kenya, defines the developmental theatre as follows: -
Drama or developmental theatre is usually an utilization of the folklore shapes, tinged with a wide imagination, and considerable caution because the programme of the developmental theatre aims at the dissemination of cultural awareness and a change of the targeted groups for the sake of development and human growth. The developmental theatre is a fertile sphere, which is prosperous in all parts of the world and particularly in African countries, in addition to the academic controversy raised by the current of the developmental theatre among the African dramatists and those who hold the view that the role of the African drama differs from the European dramatic trend. The African author could not plunge into the depth of history unless he is cognizant of his present role. To attain this, the African dramatist must be an artist in the first place and not a propagandist, a philosopher and not a parody maker, this would undoubtedly place those engaged in the field of developmental drama in a position of practical experience and thorough scientific and professional knowledge, and an awareness of the utilization of these creative races without alienating them so it would not shade off its social effect nor lose its constructive values. The developmental theatre of such comprehensive significance is popularly known for all African nations where its elements are existent in the cultures of the tribal groups, the different human communities rampant in all parts of the African continent. Among the popular, understandable and practical definitions for the developmental theatre is “Theatre for — TFD. It is a trend similar popular theatre. Theatre for development exists wherever a number of theatrical actors are
available who are able to work with diversified groups in the field of development or to work with various organizations that are engaged in this vital sphere, to assist in the creation of a type of theatre with vital human messages in various walks of life such as nutrition, illiteracy, environmental health, agriculture and residential areas.
This sort of theatre varies from drama, songs and dancing. Usually, the songs are simple, bearing tunes of clear messages in a specific area. The working staff at the developmental theatre shall be in the form of groups, organizations or animators. The developmental theatre could be considered another model of the popular theatre, which prevails in the educational philosophy of Paulo Freire and his perception of the developmental process, which he had designed to deal with the Brazilian public, to which he clarified that “the education we long for aims to enable people to discuss their problems in essence and allows them director accession into these implications. It warns man against the risk of history and infuses him with self-confidence to confront these risks instead of submission. Freire’s trend of educational drama is well known and reclines on one of the most important educational curricula which spring from imagination and the utilization of culture in the educational process as an educational strategy depending on learning and change and the reduction of vital significances, developmental issues within the element of the relevant culture.
The developmental theatre — The Experience of the Sudan
This model of theatre - the developmental theatre continued to prevail in the Sudan from distant times, practiced by human Sudanese groups as a social and economic activities, different modes, and various styles. The people practices and the various cultural shapes contained within their layers traditional trends and techniques for some of the sensitive human cases such as the values of peace and conflict settlements. El Nafeer, or communal work, where villagers assemble to carry out a large task, is considered an exemplar developmental theatre prevalent in all parts of the Sudan, because of the values, virtues and morals it signifies and which pour into solidarity, cooperation, sympathy, magnanimity and cohesion of the community. All these values are estuaries flowing into the confluence of human development and peace culture.
The developmental theatre, in this form and cultural gist, is a considered a genuine activity both in culture and the Sudanese civilization which emanates from extended family obligations, which is based on cohesion,
sympathy, self-denial, generosity, relieve of the destitute, patience and tolerance, all these are the elements of the culture of peace, based on the unanimous agreement of the specialists and UN agencies.
It is possible to say that the scientific current of the developmental theatre, which is the focus of our present concern, is a new theatrical current. The experience of the Sudan Centre for Theatre research* in the field of collaboration with the Kenyan theatrical groups such as (Amani People Theatre) 1998 and the (Kenyan Drama Education Association —KDEA) 1997 are the preliminary beginnings of this attempt.
No doubt there are other reasons that could be considered as an incentive and a cause for the emergence ~of the developmental theatre at the inception of the Third Millennium. These reasons are: -
1. The increasing awareness among the drama and theatrical groups and their strong feeling to activate the experimental margin and to open into the cultural Sudanese atmosphere.
2. The continuous fidgeting and resentment among the theatre actors resulting from the hurdles, which the Public Theatre Corporation in Sudan imposes; and its persistence to devote the culture of the centre without accommodating the themes and theatrical marginal experiences
3. The considerable effect with the contemporaneous issues and problems such as poverty, war, peace, environmental problems, child health, gender problems and development in various sorts.
4. Awareness and participation in international conferences held by the world theatrical movement and debouching from the Arab World atmosphere to the African and European space, increasing feeling of the world and problems engendered by globalization and an inclination to break the shackles of locality and streaking into an international space which benefits from performance studies as a trend, a threshold and a new entry into a changing world.
Module:
The module of the developmental theatre is experimental in a dramatic critical sense. The developmental theatre would not originate except on the necessity for human development in its types. Definitions alone are inadequate to make an imagined experience a practical and a virtual one. Therefore the field in which the competent module is experimented represents a big and a basic role to make the experience real and practical. This would lead us to look for ‘the style and the method followed by those engaged in the developmental theatre.
I would therefore adopt this design as a module for the developmental theatre. It is the module, which I assume may be traced to drive home the significance of the peace culture and grassroots peace building as developmental problems for the targeted groups programs.
The significance and the module of the developmental theatre, which prevailed in the African continent sprout from two basic theatrical understandings, which characterized the dramatic/theatrical phenomenon in its promotion throughout history. These are:
1. To depend on the common theatrical techniques to convey the relevant messages and targeted significances. Theatre in its traditional Western form depends on the utilization of the stage in the playhouse to convey a particular message to the recipient in the theatre hall. This is the theatrical process, which dominated the world as a cultural communication media. Theatre in this shape, is a Western art, an
European with its roots struck deep into the ancient Greek civilization. The ancient Greek theatre, tinged with an Aristotle1 philosophic flavor is cosmic of the classical and intellectual fundamentals of this art. The experience of the developmental theatre is not based on Aristotle 23’intellectual fundamentals. The audience is the participating actor and participation means avoidance of the dramatic shape of debates.
2. Deep knowledge of the mechanisms of culture of the human groups
Targeted by the program of human development and ability to analyze those cultures and delineating them to their preliminary elements, because the developmental theatre utilizes these elements sociologically and anthropologically to unravel the genuine elements for the social transformations, which depend on cultural and social significances.
Who composed the first theory for drama in his book- From the
Look at Gor. Abulgasim (drama for peace culture) a research project for a PhD degree. Unpublished by the University of Khartoum, Arts - philosophy 2000.
We conclude that there are five basic elements intended by the drama*4 animator when he embarks on his developmental project. These elements are:
1. The language: what is the appropriate language to be used in the field?
2. Environment: What is the environment, which is suitable for this topic, i.e. what is the ideal place to display the subject and the project?
3. Participants: Who does and what must be done? This is focal point for the project coordinator.
4. Culture: What is meant is latent culture, which may not be apparent in dealing hurriedly and incautiously with the community. It is possible here to include the adoptability of the local artistic shapes.
5. Time: What is the appropriate time for working with the targeted community to implement the project?
N.B. The drama animator, while doing his detailed work, must bear in mind that the social transformation is a painful and complicated process, a slow exercise. If the animator discovers that he has insufficient time, he better waits until he has ample time to perform this task, which must be not less than six months in the field.
The drama animator must enjoy certain properties such as acquiring the friendship and confidence of the developmental program targeted group and must ensure the cooperation of the individuals of the community with him to provide crucial information. On the other hand, what we call the latent meaning for the cultural expression is a group of deep values, which are the very values, which the drama animator adopts and activates and turns effective. It is a process, which requires time and would not accept hurried action. The task of the drama animator or the drama communicator is a creative and interwoven which starts from within the community since the communicator may occasional
play the role of the guide. He is similar to the caravan guide, who decides whether the journey ends or continues. It is a popular belief to lead a community one must acquire the confidence of that community. To acquire the confidence of a community one needs sufficient time. The theatre communicator who seeks to disseminate a specific developmental message within a specified community such as the peace culture or family planning, or pharoic circumcision, or refusing to fight an enemy which lives with him in the same land etc it becomes imperative upon the theatre communicator if he knows that his topic is subject to argument or violently turned down or considered a snare (false promise), the communicator must be precise, intelligent, able to analyze a situation in order that the message would not turn to the opposite. He must be able to bear the structural analysis of his thesis according to the cultural fruition of those groups.
All this indicates that the module of the developmental theatre is an inter-communication module, conveyed to people through their own dialect and local culture. Nations speak their languages and express their private, human and sensitive problems related to their systems and their local reflections. They could be approached and talked to by people whom they know. The message must be designed in a non-alien frame, avoiding surprise and aloofness. It must be contained in an easy, smooth-flowing and friendly mould.
If you’re an outsider, you have to learn and use some vocabulary with which the people are familiar, such as greetings, thanks and the use of some proverbs in the course of your conversation. Such a course of action brings you closer to them. He, who works among the Messeriyah community, must understand that he deals with a traditional and tribal and nomadic community in the greater bulk of its composition. Individuals usually use idiomatic language. It is a cautious and serious community, which enjoys an upper strong structure. They are not a joking people while native administration represents a strong authority. The model of heroism in that community is a strong, integrated, generous, brave, truthful and unselfish character. Despite the fact that the Messeriyah community is rich in its creativeness, tinged with dramatic phenomenon, there is no existence for an artist in the modern cultural and urban context. El Hadai, the tribal poet, inflarnes their enthusiasm and ardor with his poetry, but they despise his social status and look down on him as someone who does not earn his living through toil and sweat as a man should. He is a carrion bird, which preys on carcasses hunted by others. He is not usually accepted in marriage, except among his close relatives, because he is sharp-tongued, unproductive, relatively soft, and delicate-skinned as he avoids manual labor and roams over festivities for pay and free meals. He would not be denied the privilege of a fine meal, lest he would lick his host with jarring remarks, while he himself does not offer the usual tribal generosity for guests or passers by. He is always a recipient. No doubt he receives latent contempt, except on very rare occasions.
A woman always represents a pivotal point in virtues, social and political achievements (tribal leadership). A Messeriyah man would never fail a request from a woman what it many cost him. A woman represents a considerable social authority. Gaining the confidence of women is a basic and crucial task for a Messeriyah tribal man. The female poet, unlike the male poet is held in high esteem. She is called (El Hakamna — poetess). Contrary to the Hadai, El Hakama admires and sings man qualities such as bravery (to protect land and wealth), chivalry, gentleness or refined behavior, generosity and venturous spirit. She would not flatter and would not praise flatteringly. She does not expect any reward of whatever sort. No wonder she derives respect of the tribal men.
The developmental theatre discusses by virtue of its nature several issues, some of which are interwoven, some would not accept open discussions for their private nature, such as family planning, Pharoic circumcision, therefore, a pioneer in this field must be well aware of all the mechanical parts of his subject and has a thorough knowledge of the root hairs of the project. For example, the rural and nomadic communities rotate on the hinges of the tribal relations deeper than the urban communities do. It is also extremely important that the drama animator must be well acquainted with the beliefs, proverbs, and rituals of such communities. Persons that can be made and talented from within such a community carry in their layers and social structures these important relations, hence those engaged in the field of the developmental theatre offer considerable concern to these minute details, because they are considerably useful to effect the aspired transformation. He who works among a Nuba Mountaineer tribe, which beliefs in the Kujur and wishes to convey a message which implies that personal cleanliness is part of the faith, his message would be more effective and compatible if he could use the Kujur to drive the message home, instead of asking the people to abandon their Kujur. Hence,, we could change our approach and communication with such a human group, so that the dialogue, instead of a lecture and communal participation to substitute the individual theatrical performance before an audience. It is essential to reduce the elements of the theatrical process and accelerate the elements of the cultural and people dramatic participation.
Module of Developmental Drama for Peace culture
Let us assume that we would like to disseminate a message on peace culture or child health, we may trace the following steps: -
Before going to the field a thirty-minute rehearsal must be performed for a short play for enjoyment and laughter, in order to attract the people to attend and watch through sheer curiosity.
The place:
A market place, a public hall or an auditorium, in the open air in a public place, on a public holiday or a national festival day. Use could be made of the village notables or other local people to clarify the gist of the play i.e. breast-feeding. People could be invited to participate in the work.
The first week:
Staging a mass play from one’s memory on health~ where the villagers participate. This villager participation is beneficial as it creates a feeling of popularity on what has been done, the creation of intimacy and information relations. A relation of some sort must be generated among the participants for confidence building.
The second week:
Having built confidence and adequate friendship with the individuals of the group, the play may start, in a reshaped way, with the participation of the local people. On the strength of the scenario, of these people can be made intellectual leaders or decision makers, simultaneously allowing them to decipher and convey the message.
The third week
Obtaining prior permission from the local authorities, it is possible to mount a
demonstration on a greater scale but the nature of thrilling and enjoyment in
the message must be maintained. Avoid making discussions and questioning ameasure to check people understanding as an objective during the performance. It could be practiced at the end in the course of evaluation after every show.
Comments:
There is always time to develop Iii is trend, and the assimilation of new ideas on the realities of the location. Special consideration must be made for unexpected events and incidents. This is the style of the Sigoti Theatre Group and the Kenyan Association for Drama and Education (KDEA), which contains many of the theatrical elements and a propensity to promote the process into a theatrical process, which is a module, which could be modified in the hope of reducing its theatrical elements to suit the war affected communities such as the Messeriya community.
A Model of the developmental theatre for tile training of basic schoolteacher
on peace culture
The following model could be delineated for the training of the basic schoolteachers on peace culture. This model depends on the developmental theatre in its capacity as an educational drama. It is a trend under experiment.
The objectives of the program:
This program undertaken by the Sudan. University of Science and
Technology aims at:
The grassroots peace group undertook their first visits from 29 November to 30th December 2000 to Abeyie area in the State of Western Kordofan. The visit culminated with a research entitles (Drama as means of cultural intervention for the sake of the grassroots peace). The group consists of
The following students:
Atif Adam Ageep
Gamal Sulieman
Eiman Hussein
Hanan Abdel Rahtuan
Hamduk Ahamed Adam
Dodi Gama Agpar
Eiman Hasap Aleasol
hai~mli Abdel Mahnmoud Yassir Kuku
1. Training 16 basic schoolteachers in the State of Western Kordofan.
2. Training 16 basic schoolteachers in the State of Southern Kordofan
3. Training 16 basic schoolteachers in the State of Southern Darfur
4. Training 16 basic schoolteachers in Upper Nile State
There are a number of measures that have already been taken to implement this programmer, most important of which are the trainers, where the theatrical grassroots peace groups have been selected for the implementation of this programmer.
1. The theatrical grassroots peace group:
The above group has been formed at the College of Music and Drama at the Sudan University of Science and Technology to work in cooperation with the University Peace Culture Project. The group represents the main arm of the project within the framework of Drama for Peace. Credit goes to the UNICEF for the establishment of this group and for their provision of the relevant support for the project during the celebrations of the Second Millennium celebrated by the Sudan University of Science and Technology in cooperation with the UNICEF.
The following towns have been earmarked to implement the programmer of Drama for Training on Peace:
-El Fulla – Abyie – Alnhood
-El Dayen – Niala – Wadi Saleh
- Kadugli - Eldalang
-Malakal – Alrank
- Aldmazen - Baw
2 Why train the basic schoolteachers on the peace programmer?
The shell of the war culture could be cracked through the expansion of the circle of peace culture. One of the crucial steps is deep penetration of the social institution on the basis of the developmental theatre, where sinking into the cultural abyss/fathom of the programmer targeted group is affected. Basic
Schools represent the pillars and corner stone of the bases of the community. The training of the basic schoolteachers on the peace programmer and their infusion with the trends of the developmental theatre for peace, directly mean a favor-peace related effect on the youngsters, the future nucleus of tile forthcoming generations. Implanting peace in their minds, particularly those schools sited on war-affected areas. Here we may point to a process or an operation, which we call the pupil and the teacher as peace intermediaries.
Time basic schoolteacher is a corner stone on the educational and learning process where the teacher concerned may disseminate the st5irit of educational drama among his pupils making use of the cultural elements, the folklore creative races, with their shapes and dramatic properties to pervade the culture of peace, the values of love, brotherhood and tolerance, forbearance, the rejection of war, tribal disputes, the causes of non-development, which lead to tribal conflict. It is also possible for the basic schoolteacher an enlightened group, with an active and effective presence in areas of tribal friction, to utilize local culture and the traditional ways of settling tribal disputes such as tribal counseling meetings (Geediyah) and casting them in dramatic and theatrical moulds for the pupils to perform before their relatives.
Time festivals amid moonlit nights arranged by the basic schoolteachers a large information mechanism to be utilized to spread the peace culture and cementing the values of peaceful co-existence and brotherhood.
3. School drama festivals for peace
The school day celebrations at the end of the academic year are popular and common practices in Sudanese schools throughout the length and breadth of the country since the inception of formal education by the British administration in pre-independence times. The good practice is still observed in varying degrees and varying enthusiasm. The receding enthusiasm is due to time shortcomings amid disadvantages the schools suffer. Looking at a problem without trying to solve confirms submission. The school festivals are cultural demonstrations, effective in traditional communities abounding in basic schools, particularly at friction areas where nomads pass near villages in war affected zones. The families of pupils would realize the awareness of peace, which their child has acquired amid his change from a nomadic culture into aim urban one.
4. Elements of the School Drama Festival for Peace
A good command of the drama elements:
This means that the basic schoolteacher has received a course or briefing of not less than a month to acquaint him with the bases of theatre, its history, its inception, its elements, and its cultural roots. Such a teacher would be able to promote his drama research along the lines of the elements of local culture and local drama and the dramatic practices tinged with dramatic festivity features. For example, a teacher who teaches at a basic school in Western Kordofàn State, Southern Kordofan or Southern Darfur may unravel the traditional cultural practices of tribes of the area such as the Messeriyah, Riziqat, Nuba, Dinka, El Bargo, El Bederiyah and the Fellatah in their capacities as groups co-existing in peace in their respective areas and enjoy eternal and historical relations from tunes immemorial. Examples are Nafeers, the ceremonial tea-drinking sittings (baramka), nugara dances, El Mardoorn and popular songs, which could be included in a festival for the pupils to perform, having made emphasis on peace culture elements. Significance gestures to indicate prominence among the tribal men could be recorded to celebrate such tribal occasions i.e. taking photographs of the chiefs of the native administration, photographs of men noted for their generosity and chivalry and the bonds, which coupled them and to recite in public their wisdom and virtues which led to such cohesion among families. Scrutiny could be done in the poetry of the Hadai and the Hakarna and to utilize such poetry to promote peace culture, to refute the war culture and to discuss topics of development.
Briefing on the elements of peace culture
A schoolmaster who prepares materials for the drama peace festival must have accession and peruse the peace culture elements contained in the UN declaration and UN agencies such as the UNICEF, UNESCO which could be summarized in the following: -
1. Denial of violence
2. Respect of life of any sort
3. Listening is the means of understanding
4. Tolerance, sympathy and magnanimity
5. Preservation of our planet
6. Respect of others.
A basic schoolmaster may discover these meanings within the local cultures, provided he bears in mind that the rural and traditional communities are cohesive and are cemented with sympathy and generosity while the family and the tribal relations constitute a strong couple, which is the basis of their life.
Pupils’ Dramatic Talents:
A schoolmaster plays a leading role in discovering the burgeoning and creative talents of his students. Basic school children are talented with creativity closely knitted with their local culture. The philosophy of the developmental theatre fosters these capabilities rather than erasing it from the memory of the pupil. School children have a flare for festival drama shows provided the show touches the cultural environment and preliminary creative components.
The implementations of die School Festivals:
Firstly, the schoolmaster undertakes preliminary planning on the onset to include the idea, the plan, the objectives, the methods, the time, the place, the expected results and a short plan.
Secondly the plan so outlined shall be presented to the following channels: -
The headmaster, Education office, the Representative of the UNICEF or any other organization engaged in peace activities and the local authorities.
Thirdly, after approval and the allocation of a budget, the schoolmaster may arrange an internal festival to check the enthusiasm and abilities of the pupils in order to select the most appropriate pupils to undertake the task. The schoolmaster must be discreet and shall not elbow out pupils on the pretext that they are failures in competition because such a course of action may have dampening long-range results for the pupil who was expelled. The basic schoolmaster would strike more success if he views his work with an aesthetic eye, based on the fact that man is originally a creative being and that deterioration in creative performance is but another level of comprehensive performance!!! With such an integrated creative vision, it is possible for the basic schoolmaster to accommodate all the pupils in his project. it is important to ensure that all tribal groups are represented and to avoid selection from a single group or a particular tribe.
Fourth, the place, the Selection of which will contribute a great deal to the success or failure of the project. The place could the school campus, a public-
Park, a stadium, or a place for public dancing (such as Tawfig in Juba, El Haj Yousif or the tribal wrestling arena in Utnbada). Occasionally it could be an open place near the village market.
Time:
The selection of an appropriate time would definitely lead either to a fruitful or failure conclusion of public occasions or projects in village areas. People would be available near the school place on? a village market day6 where people filter into the village of El Meram (El Meramn is the daughter of the Sultan, beautiful and delicate skinned which signifies. the central position of the village and the surrounding beautiful natural sceneries) to sell their sheep, goats, cattle, dairy products such as butter, ghee, sour milk, which the rive rain people buy and drink with sugar and added water. It is such a relaxing drink that brings tears to the eyelids because of its strong relaxing effect. This drink is called (naseeyah or gubaslie, the equivalent English word is “whey”). Apart from selling their animals or dairy products, people come to see friends or relatives or do some other official work associated with the civil service. It would be in vain to mount a celebration at a time or place where people would not attend. It would a waste of time and resources, flinging money across the board, as well as efforts.
The schoolmaster does rehearsals and proofreading through verbal instructions and directives. He relies on the preliminary capabilities of his pupils. His aim is to make an advertisement rally and not a little and confined theatre show. A celebration containing disguise and local mask faces, costumes, technicalities, folklore traditional practices, where parody or comic imitations for the Hadai and Hakama are imitated. it should pour into the pool of peace. The basic schoolmaster must train his pupils on chorus performance and dramatic motions.
Advertisement
The basic schoolmaster may make use of the local broadcasting station, the use of mobile loud speakers where a someone announces the occasion on a car, cart at gathering places such as markets, mosques, churches etc. A motto for the celebration could be selected
(Such as aid and aid taiga based, a hand and another hand would throw further). It is a motto, which signifies solidarity, sympathy and cooperation as basic elements for peace culture.
Aftermath:
The period after the celebrations is very important where pupils could be traced and given token prizes It is deemed appropriate that the school in question writes letters to pupils parents 40 praise the excellent and unique performance of their children to pervade the peace culture. Such messages are in themselves methods to spread peace culture because the package of drama for peace culture endeavors to intensify these implications among the people.
Model letter:
In the name of Allah, Most Gracious, Most Merciful
Headmaster
Dear Headmaster
As you may know, our school plays a considerable role in pervading the peace culture in an endeavor to combat the war culture and promote peaceful co-existence among the components parts and individuals of the community.
On the strength of this subject and according to my personal follow up for the creative abilities of my pupils, I attach an outline plan, which I hope will gain your approval and support.
I am copying this letter to the Director, Office of Education, the Commissioner and the UNICEF Representative for information and support they may deem appropriate to extend in this respect.
With best wishes and highest regards, I remain
Yours sincerely
Schoolmaster.
In the Name of Allah, Most Gracious, Most Merciful
Basic School
Subject Drama Festival for the Culture of Peace
Drama in this context means all sorts of local culture and the traditional folklore creative races together with the popular practices, which contain similar dramatic properties. These local cultures are the huge inheritance of our tenet values, beliefs, morals and civilization. They bear within their layers the elements of the peace culture, which is a genuine culture of our society, such as generosity, sympathy, cohesion and tolerance. This culture represents a warm mother breast for the pupils of our school who drank from their benevolent habits.
Accordingly our school looks forward to arrange its first cultural celebration for peace under the title of: -
“Drama in the service of peace”, our motto is hand in hand shall throw further, to signify the necessity of peaceful co-existence, in a one community and single national family.
Venue: The Freedom Square in Rigl El Fulla has been selected
Time; Monday 2001 to trigger the celebrations.
Budget: It is estimated at SD200000 detailed as follows: -
Item Estimated cost in Sudanese d
1. inaugural hospitality SDO30000
2. Advertisement and trans ort ex en SDO70000
3. Prizes SD100000
Estimated total SD200000
Copied to:
| |
|
|
|
|
|
|
|
|
|
Re: اذاعة صوت أبيي..صوت دينكا نقوك على هواء مباشرة!!! (Re: Abuelgassim Gor)
|
جوك بنج
تجد هنا نموذج المسرح التنموى وهو ذات المنهج الذى يمكن توظيفه لنشر ثقافة السلام وسط القواعد فى منطقة أبيى ... المنهج تم تطويره بالتعاون مع مجموعة أمانى المسرحية -كينيا
أيضا أرجو مراجعةCenter for peace through culture
تجد المنهج مثبت تحت : eye on the world
مخلصك قور
___________________
أذا كانت المشاكل تورث فمن الممكن اكتشاف الحلول.بهذه الفرضية يمكننا القول ان المسرح التنموي هو حل يتم اكتشافه و اختراعه بتوظيف الأشكال الثقافية والأجناس الإبداعية المتعددة المختزلة فى قيم وعادات وانماط تفكير المجموعات البشرية المتعدة بغية تنشيط عناصر التنمية البشريةHuman Growth لتوصيل بعض المفاهيم التنموية فض النزاعات، التعليم، الصحة، حماية البيئة، ونشر ثقافة السلام المختزلة داخل عناصر تلك الثقافات. فالعملية الدرامية التي نطلق عليها تعبير (المسرح التنموي Developmental Drama /Theatre ) تحتاج لمقدرة فكرية عالية وخيال إبداعي ثر بالإضافة لمعرفة دقيقة بطبيعة أفكار وقيم الشعوب والمجموعات البشرية المختلفة والمستهدفة ببرنامج التنمية. لا بد من أن يكون كل ذلك مصحوبا بموهبة درامية كبيرة. لأن المسرح التنموي يتعامل مع المكونات الثقافية، المتعددة.
هناك بلا شك عدد من الأسباب التي يمكن اعتبارها دافعاً وسبباً في بذوق تيار المسرح التنموي منذ نهايات القرن العشرين بالسودان و مطلع هذا القرن الحادي والعشرين. ومن تلك الأسباب:
1. ازدياد الوعي وسط المجموعات المسرحية والدرامية وإحساسها الكبير بضرورة تحريك هامش التجريب والانفتاح على الفضاء الثقافي السوداني.
2. الامتعاض والتذمر المستمر وسط المسرحيين من عراقيل المؤسسة المسرحية الرسمية في السودان التي لا زالت تعمل على تكريس ثقافة المركز ولم تعد تتسع لاطروحات وتجارب الهامش المسرحي.وبحثها الدؤوب عن فضاء ثقافى للتعايش السلمى والابتعاد من حالة الاستقطاب السياسى المستفحلة فى السودان.
3. التأثر الكبير بالقضايا المعاصرة مثل قضايا الفقر، الحرب و السلم وقضايا البيئة، صحة الطفل وقضايا المرأة، والتنمية بأنواعها المختلفة وخطورة التاريخ
4. الوعي والمشاركة في المؤتمرات العالمية للحركة المسرحية والخروج من الفضاء العربي إلى الفضاء الأفريقي والأوروبي و العالمى ، وازدياد الإحساس بالعالم لدى وقضايا العولمة والنزوع نحو كسر أغلال المحلية والإنطلاق في فضاء عالمي يمتاح من دراسات الأداء Performance Studies كل تجارب ما بعد الحداثة كمشهد جديد للحركة المسرحية في السودان.
يحتاج المسرح التنموي لمقدرة ذكائية عالية وخيال إبداعي ثر بالإضافة لمعرفة دقيقة بطبيعة أفكار وقيم الشعوب والمجموعات البشرية المستهدفة بهذا البرنامج.و لابد من أن يكون كل ذلك مصحوباً بموهبة درامية كبيرة. لأن المسرح التنموي يتعامل مع المكونات الثقافية، والأشكال الفنية والإبداعية الشعبية لدى الشعوب المختلفة، والمجموعات القبلية المتعددة. ويعرف الدكتور أوبيو موما المسرح التنموي قائلاً "فالدراما أو المسرح التنموي Development Drama/ Theatre في العادة هى توظيف لأشكال الفنون الشعبية بخيال واسع وحذر كبير لأن برنامج المسرح التنموي يهدف إلى بث الوعي الثقافي والتحول الاجتماعى لدى المجموعات البشرية المستهدفة بهذا البرنامج بغية التطور والتنمية البشرية Human Growth ".ومجال المسرح التنموي مجال خصب يحد اليوم رواجاً كبيراً في كافة أنحاء العالم والدول الأفريقية على وجه الخصوص، هذا بالإضافة إلى ما وفره هذا التيار من جدل أكاديمي بين الدراميين الأفارقة والذي يرون أن دور الدرامي / المسرحى الأفريقي يختلف عن مثيله الأوروبي "لا يمكن للكاتب الأفريقي أن يلج إلى عمق التاريخ ما لم يع دوره الحاضر ولكي يتم كل ذلك يجب أن يكون الدرامي الأفريقي فناناً قبل كل شيء وليس دعائياً Propagandist، فيلسوفاً وليس صانع محاكياً ". هذا بلا شك أمر يضع العاملين في مجال الدراما التنموية في محل التجربة الفعلية والمعرفة العلمية والحرفية التامة والوعي بتوظيف هذه الأجناس الإبداعية دون تغريبها – من غربة- لكي لا تفقد أثرها القيمي ، أعنى أثرها السييولوجى. والمسرح التنموي بهذا المعنى الشامل معروف لدى كافة الشعوب وتوجد عناصره في ثقافات المجموعات القبلية والمجتمعات المتعددة والمنتشرة في كافة بقاع القارة الأفريقية. ومن التعاريف المفهومية والعملية للمسرح التنموي التعريف التالي "المسرح التنموي Theatre For Development TFD، هو تيار أشبه بالمسرح الجماهيري والشعبي Popular Theatre العروض. ويوجد المسرح من أجل التنمية حيثما يتوفر عدد من المسرحيين الذين يعملون مع المجموعات المتنوعة والمتعددة في مجال التنمية، أو مع المنظمات المختلفة التي تعمل في هذا المجال الحيوي، يساعدون في خلق نوع من المسرح ذو رسالات إنسانية حيوية في مجالات متعددة مثل التغذية، محو الأمية، وصحة البيئة، والزراعة حول أماكن السكن (الجباريك)والتحذير من انتشار الاسلحة النارية غير الشرعية .هذا النوع من المسرح يتراوح بين الدراما والأغاني والرقص، وفي الغالب ما تكون الأغاني بسيطة تحمل ألحان ذات رسائل واضحة في الحقل المحدد. ويكون العاملون في مجال المسرح التنموي في شكل مجموعات أو منظمات أو Animators منشطين ".
والمسرح التنموي بهذا الشكل والمضمون الثقافيين هو نشاط أصيل في السودان تمتد جذوره وفروعه في الثقافة والقيم الحضارية السودانية منذ نحو ثلاث آلاف سنة، ان الثقافة السودانية التي تمتاز بمفهوم الأسرة الممتدة والتي تقوم على التماسك، والتشاطر والعطاء، والكرم، وإغاثة الملهوف وتحمل الآخر والصبر هى الرافد الأساى والمصدر المعين لهذه التجربة. ان ما تحتويه الثقافة السودانية من قيم وأخلاق ومفاهيم تعايش سلمى وحل للمشاكل والنزاعات بعيدا عن العنف تدل على أصالة عناصر لثقافة السلام فى الصثاقفة السودانية وفقاً لبيان الأمم المتحدة وإجماع المختصين في هذا المجال.لقد ظل نموذج المسرح التنموي موجوداً بالسودان منذ زمن بعيد تمارسه المجموعات البشرية السودانية كنشاط اجتماعي واقتصادي بأشكال وأساليب عديدة يعبر عن قيمها ومفاهيمها التقليدية والاقتصادية والبيئية والاجتماعية. كما ظلت الممارسات الشعبية والأشكال الثقافية المتعددة تحمل في طياتها أساليب ومناهج تقليدية لبعض القضايا الإنسانية الحساسة مثل قيم السلام وفض النزاعات. فـ (النفير) –على سبيل المثال- هو أحد أشكال المسرح التنموي الذي يكاد يكون موجوداً في كافة بقاع السودان، ذلك لما يحتويه من معاني وقيم تصب كلها في خانة التماسك Solidarity والتشاطر والعطاء.
المسرح التنموي.. النموذج والمنهج:
نموذج المسرح التنموي نموذج تجريبي بالمعنى الدرامي والعلملى للمفردة ( تجريب)، ولا يقوم المسرح التنموي إلا عند نشوء الحاجة للتنمية البشرية بكل أنواعها.
فالتعاريف وحدها لا تكف لجعل التجربة المتخيلة تجربة عملية وواقعية لذلك يمثل الحقل الذي يتم فيه تجريب النموذج المعني دوراً كبيراً وأساسياً لجعل التجربة تجربة واقعية. ذلك يقودنا إلى البحث عن المنهج والطريقة التي يتبعها العاملون في مجال المسرح التنموي.
وهنا سأقوم بهذا التصميم كنموذج Module للمسرح التنموي وهو النموذج يمكن اتباعه لتوصيل مفهوم ثقافة السلام وبناء سلام لقواعد Grassroots Peace Building كقضايا تنموية للفئات المستهدفة بهذا البرنامج.
ينبثق مفهوم المسرح التنموي ونموذج الذي ظل موجوداً في القارة الأفريقية من مفهومين أساسيين اتسمت بهما الظاهرة الدرامية/ المسرحية طيلة تطورها عبر التاريخ وهما:
أولاً: الاعتماد على أساليب المسرح عامة في توصيل الرسائل والمفاهيم المستهدفة. فالمسرح في شكله التقليدي الغربي Western Theatre يقوم على توظيف خشبة المسرح Stage التي توجد داخل مبنى المسرح Play house بغية توصيل رسالة بعينها للمتلقي داخل قاعة المبنى. وهذه بالطبع هي العملية المسرحية Theatrical Process التي سادت العالم كمنظومة اتصال ثقافية منذ القرن الثالث قبل الميلاد. لأن المسرح بهذا هو فن غربي-أوروبي تمتد جذوره إلى الحضارة الإغريقية القديمة، يمثل المسرح الإغريقي القديم Greece Theatre ذو البنائية الفلسفية الأرسطي الأصول الكلاسيكية والفكرية لهذا الفن. أما تجربة المسرح التنموي لا تقوم على أصول فكرية أرسطية، فالجمهور هو الممثل المشارك، والمشاركة تعني تجنب شكل الحوار الدرامي.
ثانياً:
المعرفة العميقة بمكنيزمات الثقافة لدى المجموعات البشرية المستهدفة ببرنامج التنمية البشرية والقدرة على تحليل تلك الثقافات وإرجاعها إلى عناصرها الأولية لأن المسرح التنموي يوظف تلك العناصر سيسيولجيا وأنثربولوجيا ليكشف العناصر الحقيقية لعمليات التحولات الاجتماعية Transformations التي تركز على المفاهيم الثقافية والاجتماعية.
نخلص من كل ذلك إلى ضرورة توفر خمسة عناصر أساسية يستهدفها (المنشط الدرامي) Drama Animator نصب أعينه وهو يقبل على مشروعه التنموي وهي:
1. اللغة: ما اللغة المناسبة التي يمكن استعمالها في الحقل؟
2. البيئة: ما هي البيئة التي تناسب هذا الموضوع؟ بمعنى ما هو المكان المناسب لطرح الموضوع والمشروع.
3. المشاركون: من يفعل وما الذي يجب فعله؟ وهذه أساسية بالنسبة لمنسق المشروع Project Co-Ordinate.
4. الثقافة: ونعني المعنى الكامن للثقافة Iatent Culture والذي قد لا يبدو ظاهراً للعيان في حالة التعامل، بعجلة واهتبال مع المجتمع. وهنا يمكن تضمن تتبنى الأشكال الفنية المحلية.
5. الزمن: ما الزمن المناسب للعمل وسط المجتمع المستهدف وتنفيذ المشروع؟
ملحوظة: ينبغي أن يضع المنشط في اعتباره وهو يقوم بعمله الدقيق ذلك أن التحول الاجتماعي Social Transformation مسألة مؤلمة ومعقدة وتمرين بطيء فإذا ما اكتشف المنشط أو المبادر ليس لديه من الزمن الكافي فمن الأفضل له أن يتمهل حتى يتوفق في توفير الزمن الكافي لهذه العملية أو أن لا تقل من ستة أشهر في الحقل.
أيضاً على المنشط الدرامي التمتع بخصائص اكتساب صداقة وثقة المجموعة المستهدفة بالبرنامج التنموي، وأن يضع نصب أعينه ضرورة تعاون أفراد المجتمع معه لتوفير المعلومات الهامة. بالمعنى الآخر إن ما نطلق عليه المعنى الخفي للتعبير الثقافي Latent Culture هي مجموعة قيم عميقة.. وهي ذات القيم التي يقوم المنشط الدرامي بتبنيها وتنشيطها وتفعيلها، وهي مسألة تحتاج للزمن الكافي وعدم التسرع. لأن المسألة التي يقوم المنشط الدرامي/ الموصل الدرامي عملية إبداعية متداخلة تبدأ من داخل المجتمع Within Community، لأن الموصل Communicator أحياناً يلعب دور الموجه, فهو أشبه بحادي الرحلة الذي يقرر المواصلة أو عدم المواصلة في السير. ومن المعروف كي تقود مجتمع ما ذلك أمر يحتاج لكسب ثقة ذلك المجتمع. ولكي يكسب شخص ما ثقة المجموعة يحتاج للزمان الكافي. إن الموصل المسرحي Theatre Communicator الذي يسعى إلى بث رسالة تتنموية محددة وسط مجتمع محدد مثل (ثقافة السلام) أو (تنظيم الأسرة)، أو (الخفاض الفرعوني)، أو (رفض الحرب مع العدو الذي يعيش معه في أرض واحدة).. الخ يستوجب عليه إذا ما علم أن موضوعه قابل للنزاع أو ربما رفض بعنف أو اعتبر وعد كاذب، عليه أن يتحرى الدقة وأن يكون ذكياً وقادراً على التحليل البنيوي لموضوعه وفقاً للمعطيات الثقافية لتلك الجماعة.
كل هذا يدل على أن نموذج المسرح التنموي هو نموذج للتداخل والاتصال يدخل للناس بواسطة لغتهم الخاصة وثقافتهم المحلية. قالشعوب تتحدث بلهجات وتعبر عن قضاياها الخاصة والإنسانية الحساسة بنظمها ودلالتها المحلية. وبهذا يمكن مخاطبتهم بواسطة أناس يعرفونهم. كما يجب تصميم الرسالة في قالب لا يحتوي على أي نوع من الغرابة والمفاجأة والفوقية، أي أن يكون قالباً به نوع من الألفة والسهولة والإنسياب.
فمثلاً إن كنت غريباً Outsider على هذا المجتمع عليك على سبيل المثال أن تتعلم وتستعمل بعض المفردات، والأمثال، التي تخصهم أثناء حديثك فأمر من هذا القبيل يجعلك قريباً منهم. فالذي يعمل وسط مجتمع (المسيرية) ينبغي أن يضع في اعتباره أنه يتعامل مع مجتمع تقليدي عشائري، وبدوي في أكثره، ويتحدث الأفراد فيه كثيراً بصيغة الأمثال، وهو مجتمع حذر وبه جدية يتمتع ببنية فوقية قوية فالمسيرية لا يحبون المزاح، وتمثل الإدارة الأهلية سلطة قوية، ونموذج البطولة لدى ذلك المجتمع هو الشخص الجاد المتماسك. وعلى الرغم من أن مجتمع المسيرية هو مجتمع غني بإبداعه ذي الظواهر الدرامية، لكن ليس بمعناه الحضري والثقافي وجود، فالهداي (الشاعر في تراث المسيرية) يلهب حماسهم بشعره لكن نظرتهم إليه لا تخلو من إزدراء وانتقاص في وضعه الاجتماعي إلا ما نموذج المسرح التنموي لتدريب معملي الأساس على السلام:
Drama Peace: Basic School Teachers Training Model
النموذج التالي يمكن إتباعه في تدريب معلمي مرحلة الأساس على السلام يرتكز هذا النموذج على المسرح التنموي بوصفه دراما تعليمية Educational Drama وهو منهج قيد التجريب.
| |
|
|
|
|
|
|
|
|
|
Re: اذاعة صوت أبيي..صوت دينكا نقوك على هواء مباشرة!!! (Re: JOK BIONG)
|
A Ngok Dinka Song
Fire continued to blaze,
as houses burned
and our cattle were driven away,
but we had no one to hear our case.
We called and called,
but no one asked what we were calling about.
We cried and cried,
but no one asked why we were crying.
We talked and talked,
but no one asked what we were saying.
God, it was you who gave the Dinka the cow
and you gave the Arabs their wealth in money.
The Arabs have consumed their wealth,
and they have gone to capture our herds.
And there is no one to whom we can take our case:
Our cattle have been captured,
Our children have been captured
and our villages have been burned down;
We are now clustering under trees like birds.
STAY WITH US
| |
|
|
|
|
|
|
| |
JOK BIONG
wedzayneb
عبد الواحد أبراهيم
Abuelgassim Gor
Tragie Mustafa
محمدين محمد اسحق
Kostawi
kabashi
Elbagir Osman
Omer Abdalla
فيس بوك
تويتر
انستقرام
يوتيوب
بنتيريست