In association with CLOWNS WITHOUT BORDERS and BOND STREET THEATRE

Afghanistan: Welcome to the Land of the Brave

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Coming in to Kabul, we fly over craggy snow-covered mountains.  These are the Hindukush, and I can almost touch them. Then the mountains lose their peaks and turn brown and sandy. Groupings of walled compounds form geometric patterns on the plains. Are they meant to hold animals or people? I can’t make out any houses. But everything’s the same color, mud and sand, and blends in. When we land we are surrounded by the mountains, and greeted by a gigantic sign that reads: “Welcome to the Land of the Brave.”

As we drive into the city from the airport, we pass distressed or ruined buildings mixed with many new structures under construction. And lots of billboards advertising things. Even a digital one with filmed commercials! Which seems incongruously modern. Most buildings are simple drab one-story structures, and the roads are of dirt and stone.  And there are donkeys pulling carts.  But also plenty of fancy cars.  I see some women still in burqas, and men in traditional clothing (long tunic with loose pants and turban or traditional cap, or the pakol wool hat made famous by Massoud, the Mujaheddin 'Lion of Panjshir').

Most women wear a scarf loosely slung around their head with some hair visible in front. That’s not so strict compared to what I’ve seen elsewhere in the Muslim world where the head scarf is tightly wound around forehead, cheek and chin. From burqa to a loose scarf is quite a jump. But, as mentioned, there are still women wearing the burqa. At the airport, there was a young girl without a head scarf and sporting Mahnolo Blanik-like high heels, looking very hip and beautiful. She was next to an equally hip and handsome-looking young guy in jeans and T-shirt. The new Afghan generation? I wonder if once she went outside she put on a scarf. I put mine on as I stepped off the plane.

I’m not getting much of an impression of the city as a city at first. I think we’re still winding our way in to Kabul when suddenly we stop: here we are at the hotel. Huh, where? Seems we’re in the middle of nowhere.  This is Kabul? Apparently we are already right in the center of the city. But the road is still dirt and stone. We’re in front of a non-descript building with a little door on the side – would never guess this was a hotel! Perhaps this is a good thing. Hotels have been known to get bombed.

Next day we go to the Ministry of Economy and the Ministry of Foreign Affairs so that Bond Street Theatre can register as an NGO (Non-Governmental Organizations, which most humanitarian orgs are). These buildings are more stately and there’s also a newly constructed shopping mall. Soldiers and police are stationed in the area holding machine guns, with one mounted on top of a truck. A gigantic photo of Karzai flanked by children graces the side of a building.

Later in the afternoon, we go for a walk in the neighborhood where we’re staying, which is in the Shar-e-Naw section of Kabul. There’s a park and a cinema at its entrance. Men hang out on the street corner as money changers, waving large bunches of bills. Apparently they are legit. We go in a little clothing shop to check out the wares, and the shopkeeper offers us tea. Wherever you go, you always get tea. On our way back, we stop at a breadmaker’s shop on the corner. There are piles of flat round “nan” (the traditional Afghan bread, which kind of look like pizza without any toppings) piled up in the window. The shopkeeper is sitting in the window too, while behind him young men prepare more nan.  I want some, I exclaim, and take out my dictionary so I can ask for bread. The old man puts one large round nan in a bag and hands it to me. He waves with his hand and won’t take any money. How much, I try to ask, consulting my dictionary again. They all laugh and he good-naturedly waves his hand again. Oh, it’s a gift! Tashakor!

We eat it right away as we walk down the street, it’s so fresh and warm, mmmm! Then turning onto the street to our hotel, we come upon the kids begging whom we had seen earlier and I give the rest to them. The next day three other street kids follow us, one of them the same boy I had seen before, still smiling and sprightly with lots of charm. I can’t shake them and eventually start goofing with them – since the boy keeps talking to me and I have no idea what he is saying, I start making the same sounds back for fun, speaking gibberish, which they all find very funny so we play with this for a bit. Then I make 'batman' eyes with my fingers, and he reciprocates by turning one of his eyelids inside out and excitedly gesturing for me to look, “Madame!” Eww! He giggles. When we pass a street vendor, I decide to get them each a plate of dumplings (served with tomato sauce). They’re happy, we shake hands and I go on my merry way with Joanna and Michael.

We’re on our way to a dinner meeting and figured it’s close enough we can walk, and I’m pretty sure of the way. No problem. Unfortunately, I end up leading us all astray into a no man’s land of desolate streets in the complete opposite direction from where we should be. And it’s getting dark. Uh-oh. That really was not so smart. Luckily a friendly soldier and a nice young Afghan man on a bike come to our rescue and lead us down to a main thoroughfare where they get us a reliable cab. It is not advisable to take taxis as foreigners but it is better than walking the streets of Kabul in the dark! And the adventures have begun.

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AFGHANISTAN!

I'm in Afghanistan!  Once more onto the breach...!  This time, I am traveling together with Joanna and Michael of Bond Street Theatre and we are forging ahead to bring theater to isolated communities in Afghanistan in partnership with the Afghan theater company Simorgh which is based in the town of Herat.  Our focus is conflict resolution in the community.  We aim for peace in Afghanistan, one play at a time!  We will be here from March 27 to May 7.  Here is the press release to give an overview of the project.

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FOR IMMEDIATE RELEASE


THEATRE BRINGS NEWS TO RURAL WOMEN IN AFGHANISTAN

Bond Street Theatre, New York’s Pioneer Artistic-Humanitarian Theatre Company, Receives US Embassy Support to Use Theatre to Reach Isolated Communities

New York, NY, March 15, 2011 - Bond Street Theatre returns to Afghanistan this month to help revitalize Afghanistan’s theatrical arts, and promote the use of theatre to bring information on health, civic rights, and other issues to areas of high illiteracy (90% for women, 63% for men, UN Report).

The 18-month Theatre for Social Development Project, supported by the US Embassy in Afghanistan and the US Institute for Peace, involves month-long training sessions with four select theatre groups in Herat, Kabul, Jalalabad and Kandahar in creative and administrative skills. The goal is to build the capacity of local theatre organizations to provide educational services on an ongoing basis to their communities, and carry information to isolated areas, with special focus on women and children.

The gap in access to information is particularly acute in poor and rural communities, and among women who are more apt to be illiterate and isolated from news. Theatre is a lively and effective means to present information in an understandable visual and verbal manner.

The Bond Street Theatre team – Joanna Sherman, Michael McGuigan, and Anna Zastrow – departs March 27 to begin work with Simorgh Theatre in Herat and returns May 9th. Having conducted arts-based programs in Afghanistan since 2003, the New York-based theatre company stands out amidst the country’s most committed cultural ambassadors.

The Theatre for Social Development program will bring mobile theatre performances to some of Afghanistan’s most isolated regions, and provide creative and motivational training for women and youth, and a platform for public understanding of crucial social issues.

The theatre arts also serve as an effective means to ease the traumatic effects of war and poverty by providing a voice to the voiceless, a safe space to explore the issues, and the mouthpiece to share information and personal stories. Programs that stimulate creative problem solving and self-expression are scarce at a time when the country most needs a visionary new generation.

Integral to the project, Bond Street Theatre is creating a Training Manual to be published in 2012 that will offer artists and aid organizations a wide range of theatre-based methods applicable to development programs.

This program is made possible by a generous grant from the US Embassy in Afghanistan (Department of State) and the United States Institute for Peace, an organization dedicated to preventing and ending international conflict and promoting the field of peacebuilding.

Bond Street Theatre's History in Afghanistan
Immediately following September 11th, a Bond Street team headed to the Afghan refugee areas in Pakistan to entertain and uplift children in the refugee schools.

While in camps, Bond Street met Exile Theatre, a group of Afghanistan's finest actors who had fled the Taliban. The two groups began an eight-year mutually beneficial relationship that led to their critically acclaimed production, Beyond the Mirror, depicting Afghan life in wartime as told through first-hand stories. The performance was presented in Japan, Afghanistan and USA (2005 and 2009).

"The first collaboration between an Afghan and an American theater company, it has a quiet authority, even delicacy, that is truly powerful," stated Margo Jefferson in The New York Times.

Bond Street's Artistic-Humanitarian Relief Work since 2003 has demonstrated a firm commitment to the Afghan people and their future. Their work has included programs for girls, women, children and teachers in Afghan schools and orphanages, work with Kabul University theatre students, and educational programs for over 10,000 children in remote villages in northern Afghanistan.

Bond Street Theatre, founded in 1978, draws on the physical performance styles from many cultures to create its original theatre works. Recipient of a MacArthur Award, the company also receives governmental and foundation support, and has performed in major theatres and festivals worldwide. The company is dedicated to theatre that crosses borders and bringing theatre to areas of conflict, crisis and poverty.

For more information or to schedule an interview in the US or in Afghanistan, please contact Olivia Harris at 212.254.4614 or olivia@bondst.org.
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HAITI: Performing in the camps

We also presented an entertaining and uplifting show for the camp communities.  It's called The Flying Head!  Based on an Native American folk tale, it's a show about a village that is terrorized by a horrible monster and one woman who stands up and rallies the community together to defeat it.  The "monster" is made out of blue tarp and plastic bags and looks quite silly.  The whole show is silly, but with an underlying message of hope and resilience in the face of diversity as long as you take personal responsibility to find a solution and come together as a community. 

My favorite performance, I have to say, was at a little school in Jacmel, where the students jumped up and down screaming with excitement at our antics!  It was amazing! This happened whenever we did any of our acrobatic tricks and they went wild when Morlon launched into his sprightly slapstick silliness.  It was such a surprise visit (arranged very suddenly and last minute), and I have a feeling they had never seen anything like it before in their lives!





We performed and did workshops with the kids in about five different camps in the Port-au-Prince area:  Camp Matissant, Camp Bobin and Bristout, Camp Jean-Marie Vincent; and also Camp Pinchinat in Jacmel.

One of the first camps we visited was Camp Pinchinat.   Although in most camps I have seen people live in fairly small tents or just tarps hung over some sticks, in this camp there were large green military tents but each tent apparently houses up to five families!  Crammed together in this space, there is no privacy whatsoever.  There have been a lot of problems and a lot of tension in the camp.

We walk through the camp,  and a woman sitting outside of her tent spots us and shouts out from twenty feet away, "I am hungry, give me money!"  A strong sense of dependency and entitlement has set in.  You are a foreigner, you are rich, give me.  A foreigner in the camp is associated with material aid.  Certainly no one expects a foreigner to come into the camp just to play!


As we walk down the path, I see a little girl come running towards us with outstretched arms, full of excitement.  She runs straight up to me and throws her arms around me!  Then she continues on with us, holding my hand.  So many of the children climb up in our arms, clinging to us and not wanting to let go.  There is such an apparent need for love and attention.


  








More notes on our camp experiences to follow....



HAITI: To be continued!

We're already fast at work to make it possible to return and continue our work with FAVILEK.  To work on their new show about women's experiences in the aftermath of the earthquake.

I joke with them that I'll call up Obama and drum up some support, he'll make it happen.  We'll perform at the White House together!  At this there's laughter and excitement and applause, and suddenly they all launch into an Obama song:  "Obama, Obama, si ca fait la pluie ou bon temps!"  Basically, "Obama, in good or bad times!"  Meaning Obama is there for us and will take care of things.  If only!

Seriously, we wish to continue working together and we at Bond Street Theatre will work hard to find the support to bring FAVILEK to the United States to present their show here, and all over the world.  Bond Street did it with the Exile Theatre from Afghanistan, we can do it with the women of FAVILEK, too.

We are really excited about the prospect of our continued collaboration.

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We feel so much stronger now!

Working with the women of FAVILEK has been amazing.  On the first day of workshop, Sylvie, an older woman, comes up to me when she arrives and gives me a big kiss on each cheek.  Such joy and spirit and love!  There is a sense of great enthusiasm and excitement for our work together.

In the midst of all the playfulness, it's easy to forget that these women are not young spring chickens, and that they have endured a lifetime of intense hardship.  Little by little, tidbits of their traumatic past come to the fore.  Suddenly, Suzette excuses herself from an exercise because her knees hurt.  But it's not because she is getting old or out of shape.  No, she happens to have bullets lodged in her knee from being shot during the coup back in the 90's!  She proceeds to pull down her pants and show me the deep scars on her hip from her other bullet wounds.  Many of the women have scars, I notice.  Maricia injured her arm in the earthquake, and now there's a big chunk missing in her bicep.  She hesitates to do certain exercises, but we suggest adjustments and she sees she can still participate -- and then she goes for it with gusto! 
Maricia triumphs on top

We start the workshops off with warm-up games for fun and play and energy.  We do trust exercises such as leading a blind partner, running blindly into another's arms with all your might, and letting yourself fall trusting that the group is there to catch you.  Not only are these 15 artist members of FAVILEK learning to strengthen their core ensemble as a theater group, but they have committed to share this training with other women and girls in their own sessions.  So we try to include creative exercises that are useful for psychosocial support, to build self-esteem, confidence and empowerment, as well as for theatrical work.  We explore physical and emotional expression through mime and movement play and we do simple acrobatics, too.

But mostly, we work a lot on focus and cohesion as an ensemble.  We have everyone walk around within a designated space focusing on being aware of themselves, the space and each other.  We then work on choreographic movement and on moving together as a chorus.  First, the women are scattered and unfocused and all over the place.  There is no purpose to their movement or engagement.  But then a beautiful transformation takes place as they start to develop a shared sensitivity with the ability to create powerful images together.  Christina described it this way:  "imagine the transformation of 15 individuals walking around like psych wards patients in nonsensical circles within a square on the floor to 15 empowered, strong women who command the space and move as one."  Well, it's an apt description in a way.  And the women felt the difference.  







At the end of our three and a half days of workshops, we sit down together in a circle to talk about the experience.  How do you feel now, what did you gain, what did you enjoy?  They exclaim: "We feel so much stronger now!"  Individually, and as an ensemble.  Now we feel like we can do anything.  Merina, who's quite the spitfire, tells us how here in Haiti things can get dangerous, there are demonstrations and shootings, and now we are strong to run and to fight!  Wow.

Grandma Sylvie, the eldest, walks up to me and puts her arms around my hips and lifts me up.  And she can easily!  As if to demonstrate her newfound strength.  And then she cradles me like a baby and sings to me.  She then goes to Josh to lift him (and Josh is a big guy), and she probably would have done it, but Josh preempts her action and swings her up in his arms instead.  And after that they dance.








"Voulez-vous danser? Oui, danser!" I discovered last time I was in Haiti how much people like to sing and dance, and Favilek is no different.  So I introduce this little dancing game I learned from the gals in Grande Goave.  And we had a blast with that.  "Alors, fais comme ca!"

Then the women teach me and Christina a song from their last show, which was really beautiful, and sad.  But at least it ends on an upbeat note with "la vie est belle" or "life is beautiful."

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Get up, Stand Up! Take action!

"Why do you do theater?," I ask  Bazelais, the leader of FAVILEK.  She tells me: "Pour nous faire passer notre sensations de ce que nous avons subi."  That is, to have an outlet for our feelings of what we have endured.

In our first meeting together, the women speak to us about their experiences and about their expectations and dreams for the future and for our work together.   
"What we have experienced is very difficult.  We want to show others in other countries.  We want to go there in person and present our experience to them [not by video, not by disconnected reports, but live in the flesh, human to human] -- ourselves, our bodies, our faces, our emotions.  People cry when they see our performance."

They want people to know, to feel, and to take action and help change the situation.

FAVILEK has tried to reach out to the authorities, national and international, through regular avenues of communication to bring attention to the situation of women in Haiti, but to not avail.  There is a great disconnect between the talking heads of the government and the UN, and the people.  A lot of lofty talk and little action.  Who is really listening to what the Haitian people have to say? And especially Haitian women.  They do not feel their voices are heard.  And this is why FAVILEK is doing theater.  As a way to have a voice, to express themselves, to reach out and be heard. 

And so at the end of the 1990’s, they created a theater piece to speak out about their suffering as victims of political sexual violence called “Ochan pou tout fanm yo bliye” or “Tribute to all forgotten women, which they toured all over Haiti. 

Now the women of FAVILEK want to create a new theater piece about the earthquake and its aftermath. 

FAVILEK would like us to help them come to the United States and present their show. We would love to!  And we can do it!  But first we are here in Haiti and let’s see what we can do together here to start off.  We propose to do workshops in which we will share tools and techniques, different theatrical exercises that can empower their work.  Does this interest you?  Yes!  We will share what we know, and you can share with us your experience.  You can teach us your songs.  At this there is great excitement and clapping.  This is what we propose, but what is important is that you tell us what you need, what you would like from us, we are here for you, to help facilitate your work. 

So it is agreed we will begin with workshops and then continue on to work on their new show. 



 Our collaboration with FAVILEK is faciliated by Bureaux des Avocats Internationaux.  BAI is the Haiti-based affiliate of the Institute for Justice & Democracy in Haiti, which fights for the human rights of Haiti’s poor.  BAI is working to empower womens’ organizations such as FAVILEK to advocate for victims’ rights, to help report cases and pursue justice.  For more information, go to: http://ijdh.org/about/bai. 

KOFAVIV is another women’s group helping victims, with whom we are hoping to collaborate.  KOFAVIV stands for Komisyon Fanm Viktim Pou Viktim: Women’s Commission of Victims for Victims.  Both FAVILEK and KOFAVIV were started by women who were victims of rape and assault in the political unrest that followed the 1991 coup.  These women are determined to make a change and are fighting tirelessly. 

The two organizations reach out to the women in the camps and help them get medical assistance, offer counseling for psychological support, help victims report their cases to the authorities and fight to get the perpetrators prosecuted.

When we first connected with FAVILEK, we expressed interest in going into the camps directly to work with the women there.  But as Annie Gell, our partner at BAI, tells us: "With the current volatile situation and general resource-poor conditions in the camps, KOFAVIV and FAVILEK will not be able to commit to accompanying your group into camps at this time.  FAVILEK in particular has expressed concern that bringing a troupe into certain camps would put FAVILEK members at risk because they will then be seen as having access to resources, making them greater targets for violence or theft."

Most support meetings take place outside of the camps because of the sensitive nature of the work and the risk of retaliation.

We are doing our workshops in the courtyard of Heartland Alliance, an NGO providing resources and support to several local grassroots groups, such as FAVILEK.

The heart of the matter

Our main focus in Haiti is to work with a woman's group to contribute to their efforts to combat the alarming rise of gender-based violence, i.e., rape and assault against women. 


Sexual violence has long been a serious issue in Haiti.  Rape was not officially criminalized until 2005 (yes, you read that right, 2005!).  Before that it was apparently only a crime if you were a virgin.  Rape and sexual assault have a long history of being used as a weapon of terror during political repression in Haiti.  To get a further idea, take a look at these two reports:  Rape in Haiti: A Weapon of Terror

Assaults have increased at an alarming rate in the chaos following the earthquake, especially in the tent camps where thousands of people are crammed together in increasingly volatile conditions.  Gangs of armed men roam the camps.  Most of the rapes occur at night when girls have to walk through the camp in the dark to go to the toilet.  The makeshift shelters themselves are vulnerable -- a tent or a tarp slung over some sticks does not prevent an attacker from entering.

Few victims report their assault because they fear it will further endanger them and their families, as there is little likelihood of their attacker getting caught and they risk retaliation.  

Girls as young as three or four have been raped, and (incomprehensibly) even younger. The perpetrators do not discriminate.  A 58-year old woman tried to intervene and was herself then raped by several men who pistol-whipped her and fired their guns in the air, warning anyone against trying to stop them or against reporting to the authorities.

These men act with impunity.  Because they can. 

But who rapes a three-year old?  Who are these men?!

Does humanity completely evaporate in circumstances of severe crisis? 

Where are the good men?  Clearly, the majority of Haitian men do not engage in these horrid actions.  But enough of them seem to that it appears to have become epidemic. 

It is our goal to reach out to the male population as well to explore positive outlets to express frustration.  Some thugs are just rotten eggs, and the problem is that the prisons collapsed in the earthquake and thousands of convicts escaped and are now infiltrating the camps.  But many young men are simply discouraged and lost and have potential to be good young leaders – let’s reach them before the gangs get to them! 

What is ultimately needed in order for the situation to improve for women in Haiti is a change of attitude.  There is a deep-seated culture of blaming and shaming the victim when it comes to sexual assault in Haiti.  This is of course not exclusive to Haiti, unfortunately it's the tendency all over the world (including the United States, where I thought we had moved way beyond this mentality, but judging by the recent case of a gang-rape of an 11-year old in Texas and the community's subsequent response, I was clearly mistaken). 

In my research leading up to our project, I've come across so many stories of young girls in Haiti who have been raped and subsequently told by the doctor or by the police that it was their own fault, because they wore a short skirt or had a big behind or in some other way must have 'invited' the assault.  Girls have resorted to wearing several pairs of jeans under their skirts to make it more difficult for any attackers.  Sometimes a girl who reports her rape will be victimized again by the police, because, well, if she just got raped, then she's a slut. It's horrific. No wonder no woman dares turn to the authorities.  

Many of these women who have survived sexual assault are at risk of being victimized multiple times, and it runs across generations -- grandmothers, mothers and daughters.  You have no sense of safety, because you know it might happen again.  And there's nothing that can be done.  There's no police, there's no authority, there's nowhere to go.

Exacerbating the situation is the fact that aid organizations have stopped food aid to the camps.  They don't want to create dependency and undermine the revival of the local market. Haiti needs to find its way back to a thriving community of commerce and self-sufficiency.  Yes, this is true, this is a problem, but the fact is the people in the camps still need the help and desperately so.  You can't just cut them off cold turkey!

The result is that many girls and women have been forced to trade sex for food in order to survive.   In fact, I've heard stories of aid workers demanding sex in return for the help they are giving out!

Sources of further reading, if what I have said here hasn't outraged you enough:

But not all is lost. There are groups of women who have banded together to fight for justice and take positive steps to effect change.  One such group is FAVILEK, which stands for Women Victims Get Up Stand Up!

And the way they want to fight is through the forum of theater!  To get up, stand up on the stage and speak out for the world to hear.