Phakama is an international arts organisation working with music, dance, drama and art to create adventurous, site-responsive performances with groups of young people from diverse backgrounds. Established in South Africa in 1996, its programme of intense cultural training and cultural exchange has left a legacy of networks and opportunities in its wake, impacting countless individuals and groups across the globe.
This book offers readers unprecedented access to Phakama's innovative methodology and makes its practice accessible to a wide range of audiences. Each chapter contextualises and critiques their approach within political and critical concerns about contemporary theatre and performance, including approaches to devising theatre; applied and social theatre; intercultural performance practices; pedagogic models which respond to the needs of young people in different cultural contexts; cultural leadership; and innovative models of collaboration within and beyond the cultural industries.
Ideal for researchers and students of theatre and performance practice, the book is framed by a series of case studies, interviews and contextualising articles. At the heart of the book is a selection of carefully explained and beautifully illustrated exercises which will enable Phakama's methodology to be used by organisations and practitioners working with young people internationally.
Recenzijos
Phakama has been on a long journey of discovery and creating a space for people to belong. It has and will continue to be a crucial part of many people's lives because the world continues to make life unliveable so sanctuary has to be sought. Phakama holds a million stories and the unpacking of these narratives and exploration of methodology to support and nurture a new way of being needs to be documented and shared. This is a book for anyone who cares about human rights and believes the arts are a fundamental part of who we are and how we engage with the world and no one does this better than Phakama. * Jenny Sealy, Artistic Director of Graeae Theatre Company * Phakama is one of the most important, ground-breaking, inspiring theatre companies. It doesn't just celebrate diversity, it harnesses, encourages, exposes and uses the diverse experiences of individuals to shape work and to create unique and amazing performance pieces. Phakama is based on the philosophy that we can and should learn from each other and in doing so we become the richer for it. You can see this philosophy resulting in special, thought-provoking and enriching pieces of work time and time again. Writing up this approach and sharing the benefits, successes, failures and challenges with a wide audience is a great gift for all of us in theatre, education and youth work and a great way of celebrating 20 years of enormous achievement. * Bernard Donoghue, Chairman, LIFT (London International Festival of Theatre) * Phakama is one of the most interesting and innovative movements to develop in the field of arts with young people over recent years. Deeply participative in its ethos and activity, Phakama's practice starts from the assumption that we are all equals in the room - each with something unique to give and something significant to gain. This collaborative approach is mirrored in Phakama's deep internationalism - bringing cultures together in a spirit of exchange and discovery. In the UK, Phakama has focused much of its work on young refugees and asylum seekers. At a time of renewed antagonism towards this most vulnerable of groups, the Phakama spirit is more needed than ever. * John McGrath, Artistic Director, National Theatre of Wales *
Daugiau informacijos
Phakama is an international arts organisation that works through music, dance, drama and art to create performance with young people from diverse backgrounds. This book, published in Methuen Drama's Theatre Makers series, offers the first detailed and accessible critical investigation of Phakama's theatre-making methodology.
There are seven sections within the book that map Phakamas principles
of practice.The terms in the titles are used in Phakamas working practice
across international contexts. The rationale for each title becomes
increasingly clear as each section unfolds.
1. Introduction: Titles
2. Give and Gain
3. Cultural Exchange
4. Place
5. Creative Practice
6. Stepping Up
7. Conclusion: Celebration.
The introduction, written by the editors, clearly positions the genesis,
legacy and future plans for Phakama, from the early days as an initiative of
the London International Festival of Theatre through to the 2016 anniversary
plans for Phakama India, South Africa and Ireland and beyond. It defines
Phakama as a methodology and as a network, and explores how it is held and
managed in different ways in different cultural contexts, reflecting the
particularity of each geographical location.
Each of the sections (2-6) is made up of five component parts:
An introduction to each section written by the editors
An article written by a range of international academics and cultural
commentators situating Phakamas practice within wider cultural practices
A case study of a specific Phakama project written by an international
practitioner closely involved in it.
Case studies and contributors include:
o Open The Gates, South Africa, 1996 Tony Fegan,
o Be Yourself, London/South Africa, 1999 Caroline Calburn
o The Child I Curry, South Africa, Botswana, Mozambique, Namibia, Lesotho,
Mauritius, London Selloane Mokuku
o The Phakama Way, Pune, India Prasad Vanarese
o Spotlight, London, 2012-ongoing Ines Tercio, Katharine Rosser, Corinne
Macaliff
Interviews with participants, artists, producers involved in this
particular process
An Access to Practice section which offers a `how to guide for readers
interested in working with Phakamas processes. Each of the `How To sections
have 3 illustrated examples/approaches to devising performance that is in
dialogue with the case study, interviews and themes identified in the
article. This section is written by Fabio Santos and Lucy Richardson and
illustrated by Andrew Siddall, a visual artist who has been involved in a
number of Phakamas projects over the past two decades
Ultimately the book can be read in a linear way (reading from one section and
its component parts through to the next) or by focusing on a particular
perspective of the work (looking particularly at the `how to sections, or
the case studies or articles for example. However the sections within each
chapter are carefully integrated to form a full picture of the practice and
the discourses within which it exists and which it informs.
Lucy Richardson is Senior Lecturer in Performing Arts at London Metropolitan University and a founding member of Phakama. Her research interest, which includes both traditional and performance research, is in `creative processes and the politics of participation. She established The Facility: Research Centre in Creative Practice at London Met to champion practice based research.
Fabio Santos is the former Artistic Director of Phakama and a contributing writer on a collaboratively written handbook of transitional arts practice, led by Lucy Neal.
Caoimhe McAvinchey is Senior Lecturer in Drama, Theatre and Performance Studies at Queen Mary University London and has published research reports, academic articles and books within the field of applied and social theatre.
