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Dubbed “the greatest show on earth”, the Trinidad and Tobago Carnival earns a 482% Return On In-
vestment (ROI). In St. Lucia there is a Jazz Festival that realises a 692% ROI. Across the Caribbean
and its Diasporas, existing and new festivals are being developed, as Caribbean Governments and
the corporate citizenry attempt to capitalise on the revenue earning potential of these events. As a
result, in Jamaica, there is a Trinidad-style Carnival and three Jazz Festivals, in addition to its tradi-
tional Reggae festival. Dominica hosts a Creole Music Festival; Barbados hosts a Carnival known
as Crop Over and its own Jazz Festival, as does Grenada among other islands. There is a Caribbean
Carnival in Miami, New York, Washington, Toronto and London1. An while there is an argument put
forward by some cultural economists: that the region tends to undervalue festival tourism as a
strategy in their development policy, the growth of these events are testimony to these economies’
recognition of the significant role that cultural tourism can play in development.
I have come today, however, to give a different testimony. Within the context of this panel’s discus-
sions on the “Cultural Industries as a Motor for Development”, I wish to focus on social
development and the work of Arts-in-Action in Trinidad and Tobago in this regard.
The mission of the Centre for Creative and Festival Arts at the University of the West Indies, St. Au-
gustine, for which Arts-in-Action functions as the Theatre-in-Education Outreach Unit, reads almost
The Centre for Creative and Festival Arts is committed to the exploration of the Indigenous Arts and
Culture of the Caribbean as a basis for education, training and practice of the Arts in ways that are
rewarding to the artist, beneficial to society, and render the region internationally competitive.
1 Nurse, Dr. Keith. “Bringing Culture into Tourism: Festival Tourism and Reggae Sunsplash in Jamaica”. P.127
Our existence is prefaced by this mission. Operating as a self funded not-for-profit entity within arts
and cultural industry of Trinidad and Tobago, Arts-in-Action is guided by the philosophy that the
Methodologically, the work of Arts-in-Action is informed by the theory and practice of the Brazilian
educator-activist, Augusto Boal and his “Theatre of the Oppressed”. For Boal theatre is activism.
His theatre is a forum for the exploration of pertinent social issues, dialogue, exchange of ideas and
information and ultimately community empowerment. In this ‘Forum Theatre’, actors recreate
scenes that represent a social challenge with which its target audience is familiar. The audience
comes to this theatre understanding that it is not in fact a spectator, but according to Boal, ‘spec-
actor’, as they accept their role in replaying these possible positive outcomes for these situations.
Essentially, their role-play in the theatre challenge is their rehearsal for the life challenge.
With this method applied, Arts-in-Action has managed over the past eleven years to situate its un-
ique style of Forum Theatre, called interactive performance workshops not only in primary and
secondary schools, but in communities, street corners, rum-shops, churches, worksites, corporate
board-rooms and a host of other non-arts settings. Method notwithstanding, these workshops, gi-
ven the Centre’s mission, draw upon our rich Caribbean culture: festival performances, rituals,
folklore, music, dance and beliefs etc. for its text, aesthetic and ethos. This is what makes it unique.
Arts-in-Action is reputed to have mounted some of the most memorable, culturally and education-
ally relevant social development, edutainment programmes. From its genesis in 1994, the unit
developed Dolly Mois: A Cry Against Violence, which was a response to the disturbing frequency
with which reports of battered women and instances of domestic violence had reached the news
headlines.
In C.L.E.A.N., (an acronym which stands for Care and Love for the Environment And Nature), Arts-
in-Action used its theatre to rejuvenate some of our folklore characters; two of these characters for
example, Papa Bois (the Father of the Forest) and Mama D’leau (Mother of the Water) would teach
primary school aged students concepts such as ‘Deforestation’, ‘Land and Water Pollution’ and
‘Biodegradable’, in this revolutionary award winning environmental literacy project. A similar regen-
eration occurs in Carnival Legacy, now Legacy Theatre. A group of extinct and endangered
traditional carnival masks come to life to tell their stories. Given the inextricability of the discourse
on the Trinidad Carnival from Trinidad history itself, a hidden History curriculum is delivered in the
process.
Our Story Telling for Early childhood Parenting and Support Project (S.T.E.P.S.) proposes to offer
training in the usages of Storytelling-in-Education to parents and early childhood educators and
caregivers. In another project called L.I.F.E. (Liberating Imagination for Expression), funded by the
IDB, the Carnival Arts are used as rehabilitative and skills development tools, as training is offered
Yet, none of Arts-in-Action’s projects have been as ambitious or as inspiring as our Jus’ Once pro-
ject. Jus’ Once was initiated in 1998 as a forum for dealing with the myths, misinformation and
stigmas that are associated with HIV/AIDS prevention, care and support. Citing HIV/AIDS as one of
the Caribbean’s more critical developmental challenges, an immediate, relevant and effective re-
sponse was required. Three years later the project would find favour with the Canadian High
Commission. With some funding from this agency, Arts-in-Action set out to prove the efficacy of
Two researchers were hired to assess the impact of the project. There were six actor-teacher-facili-
tators, each taking on a role that personified one of the myths that plagued our ‘knowledge’ of the
disease. Through monologues they told their stories, which captured also the points of views of
persons situated at different points on the ‘at risk’ spectrum. From the HIV negative promiscuous
gym instructor, to the faithful teenaged school girl, whose boyfriend is reputed to have multiple
partners, to the HIV positive young lady who had had intercourse jus’ once, they tell their experi-
ences and our misconceptions: that AIDS is a homosexual disease, healthy people don’t get AIDS,
people with the disease look sick and that balloons and plastic wrap are as effective as condoms in
prevention. These myths were interspersed and complimented with original music, children’s
In the post-performance workshop, participants would engage in discussions with the facilitators,
one of them in role. The audiences would test what they know against what they’ve learnt through
their questioning and interview with one of the characters from the performance. They would share
information on best practices for prevention and how to treat with persons living with the disease.
This is achieved… through an agreed conspiracy with our participating audiences: to replay situa-
tions based on true-to life scenarios which respect the dignity of every person and allow the
audience members to become both consumers and producers of knowledge.2
2 Lyndersay, Dr. Dani. “Joining the Action: an Agreed Conspiracy Interactive theatre dealing with youth issues of conflict, abuse and sexuality ©
2004. p.3.
In 100% of the cases, participants left the workshops with more information on the disease than
when they had entered. In the secondary schools representatives of the participating audience were
identified and designated “Jus’ Once Ambassadors”. They would now serve as a point of contact
workshop would be created to test how much information was retained, as well as, what new infor-
mation and positive behaviours were now being perpetuated. At the primary school level, students
would sing what they’ve learnt into their consciousness: “You can’t get sick from hugging
somebody with HIV… They need love; they need love just like you and me, Oh! You can’t get sick
from having a friend with HIV”. Teachers and community workers were now requesting training in
Drama and Theatre-in-Education techniques to support the work that they were doing. In light of
With the funding for the project now exhausted, the unit uses every opportunity or additional fund-
ing that it has attracted to re-iterate the Jus’ Once message and spread the ‘gospel’ of the use of
Now in our 11th year we are a multiple award winning company. As the outreach unit of the Centre
we continuously seek to engage the inputs of our students, graduates, and participants from the
community, all youth, in the creation and implementation of our programmes. What started off as a
part-time social activist group, has now matured into a full fledged arts consultancy. To our knowl-
edge we are the 2nd of but two programmes in the world to be formally incorporated into its parent
University’s administrative framework. There are now nine full time salaried positions in Arts-in-
Action, one full-time sub project which employs an additional two persons and a resource pool of
fifteen persons.
In 2004 the Jus’ Once project was identified by the UNAIDS/UNITAR (United Nations Institute for
Training and Research) AIDS Competence Programme3 as one of the top ten “Techniques and Prac-
tices for Local Responses to HIV/AIDS”. Two other youth lead programmes from Trinidad and
Tobago, “The Condom Krew” and “De Living Room”, would also make it to this top 10 list4.
Yet, in spite of these achievements, there is still much work to be done, and there are still many
challenges that we face; these we accept and persist with our work. If nothing else it is this unyield-
ing commitment to our mandate: to use the arts and culture in social development, and to involve
our youth in this process that remains our grandest accomplishment to date. This is the testimony
3 Programme to develop the human capacity to respond to HIV/AIDS with the aim of developing AIDS Competent societies. AIDS Competence means
that we as people in families, communities, in organisations and policy making: acknowledge the reality of HIV and AIDS, act from strength to build
our capacity to respond, reduce vulnerability and risks, learn and share with others and live out our full potential. See http://www.unitar.org/acp
4 Refer http://www.unitar.org/acp/documents/Practices.EN.pdf