This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response. / Dissertation (MA (Drama))--University of Pretoria, 2010. / Drama / unrestricted

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

This thesis examines historical and contemporary artisanal and small-scale gold mining (ASGM) in Kadoma-Chakari, Zimbabwe in order to identify effective strategies to reduce mercury loss and exposure and to increase miners’ incomes by improving gold recoveries. Cyanidation of mercury-rich tailings and the use of nitric acid to leach mercury from cathode sludge and amalgams are identified as significant pathways for losses of mercury into the environment in Zimbabwe. Indirect evidence suggests that as much as 90% of the mercury contained in amalgamation tailings at mills in Kadoma-Chakari is dissolved during passive vat cyanidation. Mercury traps placed after copper amalgamation plates and centrifuges could reduce the amount of mercury subjected to cyanidation, but mercury can be kept out of cyanidation circuits altogether by replacing whole ore amalgamation with vinyl loop carpets. The optimal cyanide concentration for passive vat leaching is between 0.1 to 0.15%. Better management of nitric acid waste solutions can also significantly reduce mercury losses. The current political and socio-economic crisis significantly limits the effectiveness of ASGM programs in Zimbabwe. Nevertheless, strategies for more effective management of ASGM interventions are suggested by a review of the history of didactic theatre (Theatre for Development) in Africa. Theatre used as an awareness building tool is exemplified by “Nakai”, a drama produced in Kadoma-Chakari to increase knowledge of the hazards of mercury use. Theatre can also be a means to ensure horizontal communication between donors and project beneficiaries if it is used to stimulate discussions that give communities a real voice in development programs. It is proposed that community participation in project design, implementation and evaluation increases the likelihood of project success and sustainability because community-identified problems and solutions are more realistic than those defined by donors, and because community “buy in” and ownership increases pressure on project administrators to deliver the services communities need.

This study explores the interconnectedness of drama, spirituality and healing among an established group of black gay males in the Pietermaritzburg area who agreed to work with me towards self-empowerment through drama. It examines, through a synthesis of educational drama methodology, community theatre methodology and drama therapy methodology, an appropriate and contextual way to use drama as a means of educating (educational drama methodology), conscientising (community theatre methodology) and therapy (drama therapy methodology) to some of the dis-ease reported by members of this group. Drama and therapy are closely interwoven (Moreno, 1970) and it is possible to create a dramatic context within which both individual and community development can be enhanced. Boal (1995) observes that our personal and corporate identities are ordered by a variety of oppressive social systems. Similarly, Graham (1992) argues that these social systems organise our psyches and our behaviours into patterns of domination and subordination. There are many theorists and practitioners in the field of drama (educational drama, community theatre and drama therapy) who have researched, implemented and published dramatic techniques and methodologies, some of which are taught at various institutions and implemented with various groups of people. However, according to my knowledge, there are no drama practitioners who have focussed on using the medium of drama to bring about social change in the lives of black gay males in the Pietermaritzburg area. It is against this background that I undertook this experiential study which is primarily aimed at assisting black gay males to move away from personal and social alienation towards individual and communal integration. This study is structured into two parts. Part I develops a theoretical overview of sexuality, spirituality and drama. It argues, in Chapter One that the Church has had a history of intolerance and judgement towards gays and continues to repress them from a traditional, negative stance on homosexuality. In Chapter Two, the issue of femininity and masculinity is examined, arguing that traditional patriarchal, and heterosexual masculinity [and femininity] is a socially constructed behaviour which is similar to the way in which gay masculinity [and femininity] is constructed. Chapter Three investigates the educational, conscientising and therapeutic origins of drama, with an aim of implementing some of these dramatic methodologies with the drama group. Part II concentrates on the application of the theory discussed in Part I to the practice of drama as an educational, conscientising and therapeutic means with a black gay drama group. It provides an analysis of the exercises and improvisations in practice; observations, evaluations and conclusions based on the drama practise with this particular group. Chapter Four provides a detailed summary of thirty black gay male's profiles in the Pietermaritzburg area. This portrait of black gay males provides one with a clearer contextual understanding of these gays, especially in the areas of culture, spirituality, identity and sexuality. Chapter Five provides a detailed outline of a sequence of exercises and improvisations for each of the nine sessions, which were tailored to engage the drama group in productive educational, conscientising and therapeutic activities. These activities may also have applicability to other groups of gays (i.e. Indians, Coloureds, Whites and multi-racial / multi-cultural groups), and/or black, and/or male persons in other localities. Chapters Five, Six and Seven, focus respectively on my experiences of planning, implementing and evaluating the drama workshops and the various drama methodologies that were introduced in Chapter Three and employed by the participants. These chapters, especially Chapter 6, focus specifically on the participants' evaluation of the actual workshops. In conclusion, this study argues that drama, if contextrialised, can offer a unique educational, conscientising and therapeutic potential among black gay males that I worked with in the Pietermaritzburg area. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

This thesis examines historical and contemporary artisanal and small-scale gold mining (ASGM) in Kadoma-Chakari, Zimbabwe in order to identify effective strategies to reduce mercury loss and exposure and to increase miners’ incomes by improving gold recoveries. Cyanidation of mercury-rich tailings and the use of nitric acid to leach mercury from cathode sludge and amalgams are identified as significant pathways for losses of mercury into the environment in Zimbabwe. Indirect evidence suggests that as much as 90% of the mercury contained in amalgamation tailings at mills in Kadoma-Chakari is dissolved during passive vat cyanidation. Mercury traps placed after copper amalgamation plates and centrifuges could reduce the amount of mercury subjected to cyanidation, but mercury can be kept out of cyanidation circuits altogether by replacing whole ore amalgamation with vinyl loop carpets. The optimal cyanide concentration for passive vat leaching is between 0.1 to 0.15%. Better management of nitric acid waste solutions can also significantly reduce mercury losses. The current political and socio-economic crisis significantly limits the effectiveness of ASGM programs in Zimbabwe. Nevertheless, strategies for more effective management of ASGM interventions are suggested by a review of the history of didactic theatre (Theatre for Development) in Africa. Theatre used as an awareness building tool is exemplified by “Nakai”, a drama produced in Kadoma-Chakari to increase knowledge of the hazards of mercury use. Theatre can also be a means to ensure horizontal communication between donors and project beneficiaries if it is used to stimulate discussions that give communities a real voice in development programs. It is proposed that community participation in project design, implementation and evaluation increases the likelihood of project success and sustainability because community-identified problems and solutions are more realistic than those defined by donors, and because community “buy in” and ownership increases pressure on project administrators to deliver the services communities need.

This thesis examines historical and contemporary artisanal and small-scale gold mining (ASGM) in Kadoma-Chakari, Zimbabwe in order to identify effective strategies to reduce mercury loss and exposure and to increase miners’ incomes by improving gold recoveries. Cyanidation of mercury-rich tailings and the use of nitric acid to leach mercury from cathode sludge and amalgams are identified as significant pathways for losses of mercury into the environment in Zimbabwe. Indirect evidence suggests that as much as 90% of the mercury contained in amalgamation tailings at mills in Kadoma-Chakari is dissolved during passive vat cyanidation. Mercury traps placed after copper amalgamation plates and centrifuges could reduce the amount of mercury subjected to cyanidation, but mercury can be kept out of cyanidation circuits altogether by replacing whole ore amalgamation with vinyl loop carpets. The optimal cyanide concentration for passive vat leaching is between 0.1 to 0.15%. Better management of nitric acid waste solutions can also significantly reduce mercury losses. The current political and socio-economic crisis significantly limits the effectiveness of ASGM programs in Zimbabwe. Nevertheless, strategies for more effective management of ASGM interventions are suggested by a review of the history of didactic theatre (Theatre for Development) in Africa. Theatre used as an awareness building tool is exemplified by “Nakai”, a drama produced in Kadoma-Chakari to increase knowledge of the hazards of mercury use. Theatre can also be a means to ensure horizontal communication between donors and project beneficiaries if it is used to stimulate discussions that give communities a real voice in development programs. It is proposed that community participation in project design, implementation and evaluation increases the likelihood of project success and sustainability because community-identified problems and solutions are more realistic than those defined by donors, and because community “buy in” and ownership increases pressure on project administrators to deliver the services communities need. / Applied Science, Faculty of / Mining Engineering, Keevil Institute of / Graduate

Teachers have an undeniable influence on youth, on whose shoulders tomorrow rests. It is vital for teachers to be conscious of their role in both the local and global community in order to facilitate occasions for students to develop a sense of global consciousness. By imparting to students the desire to learn and to explore their interactions with things, people and experiences, and actively pursue knowledge, they develop critical literacy skills required to both acquire understanding and be(come) understood. Through this research study, the implications of applying David Diamond’s community drama work called Theatre for Living, as an effective and critical literacy practice to enhance social conciousness within a middle school, is assesssed. The program was implemented in a split grade 7/8 and grade 8 classroom in southwestern Ontario. The study exemplifies for educators a practical yet significant step for initializing and developing a broad sense of awareness in students; that is the sense of global consciousness.

Community art is a multidisciplinary practice that was engendered by two main perspectives on art; a functionalist approach and an ‘art as essential to humanity’ approach. These differing ideological positions led to the construction of polarizing dichotomies that divided the field of practice and stagnated the community art discourse. This thesis re-visions community art as transformative community art (T.C.A.) to integrate a diverse range of practice into a distinct, recognizable field, transcend the binaries inherited from its founding fields, and identify the field as an innovative artistic movement and radical practice for social change. In this thesis T.C.A. is employed as a framework for theorizing practice. Threats to T.C.A. from funding structures, cooptation, and institutionalisation are explored and strategies of resistance identified. The concept of T.C.A. is mobilized to identify areas for future work; raising questions and ideas that can contribute to advancing a more complex, nuanced, and productive discourse.