Refugee Engagement and integration

through Community Theatre

Guide to implement
inclusion theatre projects with refugees
 Refugee Engagement
and integration through Community Theatre

Guide to implement inclusion

theatre projects with refugees

Attribution-NonCommercial-ShareAlike 4.0
International (CC BY-NC-SA 4.0)
Index
Introduction 3

1. Why REACT? 6

2. REACT’s Partners 11
2.1 acta Community Theatre Ltd (UK) 12
2.2 Rotterdams Wijktheater (The Netherlands) 15
2.3 Centro per lo Sviluppo Creativo “Danilo Dolci” (Italy) 19

3. Refugees’ national situation: a short overview 23

4. REACT – Methodologies and models to integrate

refugees through Theatre 32
acta Community Theatre Ltd 32
Case Studies 44
Rotterdams Wijktheater 47
Case Studies 60
Centro per lo Sviluppo Creativo “Danilo Dolci” 65
Case Studies 78

5. What did we learn? 79

5.1 The experience of acta 80
5.2 The experience of Rotterdams Wijktheater 82
5.3 The experience of CSC Danilo Dolci 89

6. Events 92
6.1 acta: REACT Sharing Event – Bristol 93
6.2 International Community Arts Festival (ICAF) - Netherlands 108
6.3 CSC: Seminar in Palermo 110

Conclusion 112

Photo Credits 114

Introduction

R
EACT - Refugee between host and refugee
Engagement And communities, and the partners
integration through felt that it was important to do
Community Theatre – a project whatever we could to address
funded by Creative Europe the issues, using the tools we
programme - was conceived by had to hand – the creation and
acta, a community-based theatre performance of new theatre
working in Bristol, and developed to bring together refugees and
with partners Rotterdams host communities, to challenge
Wijktheater and Centro per lo the prejudice, to correct the
Sviluppo Creativo Danilo Dolci, misinformation, and to find and
as a response to the growing celebrate the common humanity
refugee crisis in 2016. Our aim that all share.
was to show how it is possible
to promote and develop refugee The partners believe that
integration at a local level througheveryone can successfully
the use of Community Theatre, a contribute to community life and
tool which offers the possibility this is what the project set out to
to concretely foster intercultural highlight, promoting the positive
dialogue, community cohesion impact given by the mixture of
and mutual understanding. different cultural influences, in
a vibrant shared atmosphere of
For acta in the UK, as well as appreciation and exchange. From
partners in Netherlands and 2016-2018 the three partners
Italy, it was clear that there were developed projects to promote
real and urgent concerns not integration between host and
only at a global level, but within ‘guest’ – refugee – communities;
our own local communities. Fear, all working under the banner of
mis-information and prejudice REACT, using their own models
had already lead to difficulties of Community Theatre.

3
What is Community
Theatre?

C
ommunity Theatre (also the interaction between trained
known as ‘Community- professional community theatre
based theatre’) is practiced practitioners – facilitators,
in many different ways across writers, directors – and
the world. For the purposes of participants who volunteer in
this project the definition of their time.
community theatre involves:
Creative interaction between
• collaboration of non-professional practitioners and participants
participants and professional involves a process of discussion,
theatre facilitators
deliberation, and theatre
• creation of original work based techniques such as role-play,
on stories generated from improvisation, play-making,
communities character work, narrative, over
several months. The resulting
• theatre created and performed
by non-professional community
performances are given
members professional technical support to
create a high-quality product, and
• creating theatre with a social is performed by the participants
relevance & impact who created it, giving a direct
• diversifying traditional audience
and natural performance quality
for theatre to include under- not achievable or replicable with
represented groups professional performers.

Community Theatre practice Theatre has a particular and

centres on the principle that unique quality of being able to
individual life-experiences make a clear and immediate
have a relevance to the rest of connection between audience
society. Methodologies involve and performers; when those

4
performers are representing integration between refugee and
a refugee perspective, and host communities. The guide
presenting life from that specific presents information about each
viewpoint, then the audience partner; history, background,
has the opportunity to connect and the methodologies used in
directly with that life-experience the REACT project. An overview
and have the opportunity to is provided on the national
develop and potentially change refugees’ situation in each
their preconceptions. country involved in the project,
to facilitate understanding of
The social impact of this the context in which REACT
experience goes beyond the end partners have worked. The
of the theatrical presentation three models developed are
and can greatly add to real described in depth, with
change in attitudes between host detailed case studies of the three
communities and new arrivals, refugee theatre projects, with
promoting understanding, evaluations from participants,
appreciation and improving refugee agencies and audiences.
integration and community The guide is furnished
cohesion. throughout with suggestions
and recommendations for all
About the guide those organizations / agencies
/ theatres which may wish to

T
he aim of this guide is implement a similar project in
to share the learning of their own context. In addition, we
the three partners, and have included a selection of the
present this information in valuable feedback and inspiring
an accessible format, so that contributions collected by the
it may be easily read by other partners during the organization
organisations interested in using of 3 public and international
community theatre as a tool for events in the REACT lifetime.

5
1. Why REACT?

6
Why REACT?

a
cta’s work is concerned with By 2015 acta was busy with
engaging marginalized and projects with people from migrant
socially excluded sections and refugee backgrounds in
of the community in theatre Bristol and making connections
projects which provide access with other companies doing
to the arts and enables people to similar work in the UK and
develop their creativity and tell in Europe. The company was
their stories through a process beginning to formulate a strategy
of co-creating and performing to make firmer connections,
original theatre. Within the to develop a network through
city of Bristol there are many which to share learning with
people from a range of diverse others and examine practice
cultures, and since 2010 acta has and ethical considerations of
been devoting more resources working with migrants and
into engaging with these refugees. Discussions were
communities through a series of begun with acta’s sister company
projects; including community Rotterdams Wijktheater – a long-
performances and events. acta standing partner in a number of
is also an internationally-facing projects – to explore how this
organization and has been could be achieved. In 2015 acta
involved in four EU-funded was a partner in MedArt – an
projects; for three of these as Erasmus+ project sharing social
instigator and coordinator. theatre methodologies between
In 2011-2013 acta coordinated 8 European countries. Through
the COAST project, engaging with this project acta met and worked
sister companies in Netherlands, with staff from CSC Danilo Dolci,
Germany and Poland to explore and discovered a shared interest
issue of migration through in making theatre with refugees.
community theatre.

7
 REACT set out to:

1
Use participatory
theatre as a tool to
challenge prejudice
and misconceptions,
developing empathy, and
promote intercultural
understanding between
refugees and host
communities;

a
cta was already exploring

2
how it would be possible to Develop personal and
make links between these transferable skills in
three partners when Creative refugee participants,
Europe announced a call for making positive
submissions for projects using improvements - building
culture and arts as a means of self confidence and self-
promoting integration between esteem, presentation
refugee and host communities. skills, language and
A submission to this call-out was communication, new
made, and the partnership was friendships and awareness
given the go-ahead to embark of host country cultures;
on a two-year journey to test

3
different models of practice, to Promote the positive
share learning with each other, contribution of refugees to
and then to identify, engage host countries;
and share learning with other

4
companies and agencies involved A trans-national project
in the same area of work. The linking European
REACT project began in Autumn community theatre
2016. organisations with other
agencies connected to
refugees;

8
5
Develop innovative The structure of the project was
approaches to delivering to be relatively simple:
participatory theatre projects
with refugees, to involve Year one – each partner would
co-organising partners and use their own models and
wider sector; methodologies to create new
theatre with refugees to perform

6
Improve practice by sharing within their host communities
the methodologies of
co-organising countries and Year two – partners would share
other partners to voluntary their learning from this process
and statutory agencies in with each other, and with other
field of arts, education and practitioners and organisations
refugee support; working in arts and refugee
settings, in order to inspire the

7
Create new high-quality replication of this work in the
community theatre with future, and across Europe.
participants from refugee
communities in different The methodologies would all use
countries, and perform this Community Theatre techniques
work to wider communities as their starting point.
in which refugees are
re-settled;

8
Create models of good
practice which can be
replicated at local levels in
other European countries;

9
Disseminate learning from
the project in accessible
forms to inform and influence
new approaches to refugee
integration across the
European Union.

9
What is the Creative Europe Programme?
Creative Europe is the European Commission’s framework
programme for support to the culture and audiovisual sectors.
Following on from the previous Culture Programme and MEDIA
programme, Creative Europe, with a budget of €1.46 billion (9%
higher than its predecessors), which supports Europe’s cultural and
creative sectors.

The programme is open to cultural and creative organisations from

EU Member States, as well as non-EU countries.

Creative Europe’s stated aims are to:

• Help the cultural and creative sectors seize the opportunities of
the digital age and globalisation;
• Enable the sectors to reach their economic potential,
contributing to sustainable growth, jobs, and social cohesion;
• Give Europe’s culture and media sectors access to new
international opportunities, markets, and audiences.

To know more about the programme please visit the website:

[Link]

10
2. REACT’s Partners

11
REACT’s Partners

2.1 acta Community

Theatre Ltd (UK)

a
cta is a Bristol-based in this way has been proven to
socially-engaged theatre have significant impacts on the
company and charity lives of people involved.
founded in 1985, which engages
marginalized people in the acta works with: isolated older
creation and performance of people; vulnerable young people;
their own original theatre. migrants, refugees and asylum
acta engages vulnerable and seekers; disabled people; people
socially isolated people from all living in disadvantaged areas.
generations and diverse cultures
in a creative programme which Since 2012 acta has developed
provides accessible, positive and an increasingly strategic role
enjoyable shared experiences, at UK and international levels;
enabling social contact and exploring and improving practice,
friendships to develop and raising the profile of community
flourish. This approach to theatre theatre as a vibrant art-form.
and arts provides a place where This has included hosting
people matter, where their ideas, quarterly seminars to promote,
imaginations, life experiences debate and share learning
and contributions are valued. around community theatre, a
Participants in projects are of National Festival of Community
the greatest importance; not as Theatre in 2016, and instigating
passive recipients of a service, and coordinating international
but as active, creative partners projects with partners from
and drivers of success. Being Europe, USA, South Korea.
involved in the creative process

12
The company’s theatre base in aimed at engaging people on the
Bristol is uniquely dedicated to margins of society in accessing
community-based theatre, with the arts, creating their own
a core group of seven, with many theatre and through this process
associate freelance directors and developing personal skills and
facilitators. We co-create and emotional well-being. acta
produce up to 18 different plays projects bring people together
each year, attracting thousands to make theatre, sharing ideas
of audience members, 70% of and co-creating work, building
which are not regular theatre friendships between different
goers. social and cultural groups,
leading to improved community
acta’s work is included in books cohesion.
by Francois Matarasso, Kate
Organ (Baring Foundation), Dr The company places great
Eugene van Erven (ICAF), and emphasis on the central
Dr Kerrie Schaefer (University importance of successful
of Exeter). acta is acknowledged engagement and has developed
to be at the forefront of UK and a range of strategies which aid
European Community Theatre the company in identifying and
practice, and the work is regularly engaging marginalized people in
studied by Applied Theatre arts-based community projects.
students from UK universities This includes working closely
and theatre schools, including with partner organisations, both
Bristol, Exeter, Durham, London non-profit and statutory which
(Royal Holloway), Cambridge, represent targeted groups;
East 15. providing free access to all
workshops; providing ‘taster’
acta’s working methodology workshops within existing
groups; developing relationships

S
ince 1985 acta has developed based on equality of status
an extensive community within projects; providing care
theatre practice which is for participants both within and

13
outside of workshops. period of sharing of stories, and
development of ideas which will
Artistically, acta’s process then contribute to the creation
is based on recognizing and of the play. Through this phase
celebrating the importance and the play will be developed, with
value of each individual group participants using improvisation
member as a creative person. to create characters, dialogue,
Everyone is involved equally in situations and scenes. At the end
the creation of the theatre, and of this phase, a full scenario will
workshop activities are designed be developed, and if necessary,
to be creative, accessible, and a script will be written. The
enjoyable. acta believes that project then enters the rehearsal
‘fun’ is an important word and phase, with participants working
aim, and that participants will on performance, developing new
continue to access workshops skills. At this point the technical
only if they are enjoyable. The and design elements of the
equal status between acta staff project will be developed. The
Facilitators and participants is final piece is then performed to a
of the greatest importance; the community audience.
work is created and owned by all
involved. Target group

a
The acta process usually cta’s work is targeted at
takes place over a six to nine- involving people on the
month period, with groups margins of society with no
meeting weekly for two hours. access to theatre. The company
Projects will begin with games, currently works with: refugees,
exercises and discussions for migrants and asylum seekers,
the first phase of 6 weeks, then isolated older people, vulnerable
progress to the discussion of young people, people living in
subject matter, an 6-8-week areas of high disadvantage.

14
2.2 Rotterdams
Wijktheater
(The Netherlands)

T
he Rotterdams Wijktheater production is presented 10 to 20
(Rotterdam Community- times mostly in schools, a wide
based Theatre/RWT) was range of community centers, and
founded in 1992. It is one of occasionally in regular theatre
the oldest Community theatre venues. Annually, RWT reaches
companies in the Netherlands anywhere between 4,000 and
and one of the few that is 10,000 spectators from all age
structurally supported for almost groups and cultural backgrounds,
20 years by the local City Council of which there are many in
RWT is a theatre company that cosmopolitan Rotterdam.
produces theatre for, by, and with
people living in local communities Once every two year, the
in Rotterdam. The main aim of Rotterdams Wijktheater
this community arts organization produces are large scale site
is to develop original theatre specific theatre production.
that is accessible, appealing and Therefore, they are based for
relevant to non-theatre goers. 18 months in one specific
Most of them are living in the neighbourhood, work closely
underprivileged neighbourhoods together with cultural, social
of the city. In order to attract and educational organisations in
new and culturally excluded this area. All the people living in
audiences RWT presents this neighbourhood are invited
theatre performances that are to join the production. Overall
based on the stories of their 80 to 100 people participate as
own community, dealing with performer, volunteer behind
issues that are relevant to those the scenes or as a guide for the
groups. RWT creates 3 to 5 audience. These long term,
new productions per year. Each large scale productions have

15
a positive effect on the social relations in the community, or
cohesion of the neighbourhood tension between parents and
by: the broadening of people’s teenage children.
network, new contacts outside The Rotterdams Wijktheater
their usual social and cultural has no permanent company of
context, a better insight and actors, although some make
understanding of others, return appearances. Usually,
increase of participation in other companies are composed
neighbourhood activities. of non-professional actors
from the neighbourhood
The Rotterdams Wijktheater is where a particular project is
run by a small professional staff based, written and rehearsed.
of theatre - and filmmakers, Participating performers usually
technicians, producers, and have no prior performance
outreach workers. Typically, experience. In fact, few of them
new productions are based on have ever seen live theatre.
interviews and improvisations, Everybody can join the company,
which are subsequently processed there are no auditions.
into a script that is rehearsed
over a six-month period. The Starting in 2001, RWT has also
resulting play is performed been responsible for organizing
by community members biennial and later triennial
themselves. Sometimes, projects international community arts
are commissioned by external festivals. This event is called
organizations, like public health International Community Arts
agencies. But more often than Festival (ICAF), which over the
not, participants themselves years has grown in importance.
come up with themes like fear, It is here that ACTA and RWT
loneliness, addiction, violence became acquainted and laid the
in public space, intercultural basis for a long-term relationship,
exchange and co-operation.

16
RWT’s working
• Recruitment - productions are
methodology made in close collaboration with

T
the participants, who are all
he RWT was founded members of local communities.
with the mission to make
• Improvisation & enhancement
theatre accessible for - in the first phase participants
groups of people (mostly from start getting to know each other
marginalised communities) who by telling their personal stories.
traditionally do not participate In this phase a couple of vital
in theatre, producing theatre for, themes and fields of interest are
found. Through improvisations
by, and with people from these the director is able to explore
communities. In order to attract the acting possibilities of the
new and culturally excluded participants.
audiences RWT presents theatre
performances that are based on • Script - based on the material
that is collected in the group of
the stories coming from their own participants.
community, dealing with issues
that are relevant to those groups. • Rehearsals - the director has
Identification of the audience to combine and balance all
with what they see on stage and the selected elements in such
a way that the emotional and
who they see on stage is crucial content wise meaning could be
for the way the production is communicated the best possible
received and perceived. way towards the audience.

• Performances
Methodology

S
• Touring - every production
ince the start in 1992 the is at least presented 10 to 20
RWT worked for almost 20 times in the neighbourhood
years with a very specific centres through the whole city of
Rotterdam.
methodology, that touches all
levels and departments of the • Audiences - in order to reach
organisation: these new audiences, the RWT

17
 focuses on three particular areas and all variations between very
of interest: performances for
small, or short pieces, to large
adult audiences, youth-oriented
performances (with a special focus scale site-specific productions
on the lower vocational education) that were performed 15 times
and performances for day time for a large audience coming from
audiences (women/mothers and all Rotterdam and the region.
elderly people).

• Outreach - Depending on the Target Group

different audience groups the

A
performances will be planned
lmost 80% of the
close to where they live and at a
inhabitants from
time that suits them best.
Rotterdam never goes to
theatre. That is quite a shocking
Towards a new way of number. It is RWT’s mission to
producing reach these non-theatre goers.

D
For a small company as the RWT
ue to the crisis and the is not possible to reach this
fast closure of almost 80% 80%, so there is a strong focus
neighbourhood centres on people for whom theatre is –
and lots of welfare organisations for several reasons – difficult to
that were so crucial as co- access. The productions are easy
operating partners, the RWT had to percept for everybody and
to find new ways of producing nobody is excluded. This is the
and presenting in order to reach same for the participants. The
the target group of non-theatre RWT does not have auditions,
goers. For instance: the RWT because everybody should have
started making short pieces of 20 the opportunity to experience
to 30 minutes which they could theatre.
perform during coffee mornings The RWT strives for production
for women in small settings like a groups that are a mirror of the
living room; or a special smaller Rotterdam society, that could
version of the productions which be a mix of people living in
were presented in school classes a specific neighbourhood, a

18
mix of women of all ages and both at local and at international
cultural backgrounds for the level.
women-productions, a mix
of youngsters from all ages The Centre stemmed from
between 15 to 25, coming from the need of offering the local
different neighbourhoods and so communities a reality committed
on. As a result, from this way of to practically solving the local
working, the RWT automatically problems, developing a creative
involves refugees and asylum space in which fostering
seekers, since they too are living awareness and bottom-up
in Rotterdam and are part of the planning are the centre of the
Rotterdam society. action, paving the way for a real
change.
2.3 Centro per lo
Since the beginning, the main
Sviluppo Creativo focus of the Centre was non-
“Danilo Dolci” (Italy) violent education practices as
well as the development of a

C
entro per lo Sviluppo methodology: the Reciprocal
Creativo “Danilo Dolci” – Maieutic Approach, a
CSC was founded in 1958 pedagogical methodology of
and was born from the experience research and self-analysis
and work of Danilo Dolci and its useful to develop creativity,
collaborators in Sicily. communication skills, relational
skills, cooperation and active
It is a non-profit association participation.
that involves young people and
adults, which has successfully CSC has successfully operated
operated for more than ten for more than ten years
years in the educational sector also at international level
in collaboration with schools, developing projects in the field
universities, institutions, of intercultural education, arts,
associations and social groups culture and social integration,

19
focusing on two main pillars, as • Innovation in education and
its name suggests: prevention of ESL (Early School
Leaving);
• the Local Development, starting
• Social inclusion & active
from the needs of the community
citizenship;
and paying special attention to the
most disadvantaged target groups;
• Empowerment of youth, especially
with disadvantaged target group
• the Creativity, promoting
such as migrants and refugees;
innovation in education and using
new methodologies to empower
• Entrepreneurship and mobility.
young and adults.

Its objective is to promote CSC working methodology

the territory development, the

T
intercultural dialogue, working hroughout his whole life,
towards a culture of peace and Danilo Dolci tried to find
non-violence through education. out those connections
and possible communications in
Moreover, CSC “Danilo Dolci” can order to release that creativity
count on a strong network at local hidden in each person and he
level of schools, local immigration called this research “maieutic”,
centres, local and regional taking this term from the
institutions, associations and philosophical structures,
private companies. and integrating it in a social,
educational and civil practice.
Specifically, the association has During his life, Danilo Dolci
a long-lasting experience in worked closely to the people
projects and initiatives at EU, and to the disadvantaged and
Euro-Mediterranean and local oppressed groups of the western
dimension (Erasmus +, ENPI Sicily in order to study the
CBC-MED, Erasmus for Young possible ways of change and the
Entrepreneurs, LLP and YiA potential for a democratic social
projects) on the following topics: redemption.

20
His methodological approach communities and individuals and
constitutes an important can be defined as a “collective
characteristic of the social and exploration process that
educational Danilo Dolci work: considers individuals’ experience
rather than spreading ready- and intuition as a reference
made truths, he believes that no point” (Dolci, 1996). The RMA
real change can abstract from was developed by Danilo Dolci
the involvement and the direct from the concept of Socrates’
participation of the people maieutic. It derives from the
concerned. As a result, he starts ancient greek “μαιευτικό� ς” that
from the belief that in Sicily, literally stands for the midwife
as in the rest of the world, the art: each educational act is like
resources for the change are giving birth to all the inside
present and should be searched potentials of the individual that
and evoked in the people wants to learn, as a mother
themselves. In this sense, Danilo wishes her baby is born from
Dolci considers the educational her womb. Socrates’ maieutic
and maieutical commitment as compares the philosopher to
a necessary element in order the “midwife of knowledge” that
to create a more opened and doesn’t fill the student mind with
responsible civil society. a priori information, but helps
him bring his knowledge to light,
The Reciprocal Maieutic using the dialogue as a dialectical
Approach (RMA) is a popular tool. What makes the difference
dialectic methodology of between these two concepts is
research and self-analysis tested the fact that Socrates’ maieutic
by Danilo Dolci starting from the is unidirectional, whereas Danilo
50s and by the present Centre Dolci thinks knowledge can arise
for the Creative Development from experience and its sharing,
within the educational and and then requires reciprocity in
sociological field nowadays. communication.
This approach promotes a
sense of responsibility in the Danilo Dolci’s RMA, as a result,

21
is based on the sharing process The maieutic workshop needs
of answering, exploring and everybody to question and
creating. As the name itself uncover themselves in front of
recalls, the RMA is a “reciprocal” the others, and with the others
process between at least two to start a common research path
people and it normally develops of analysis, testing and creative
within a group, with a person co-education.
that starts asking some questions
and other people that search for Target Group
the answers together and make

C
other close examinations. In an SC Danilo Dolci’s activities
intense dialogue that stands for are addressed to all the
a new way of education based civil society, involving all
on increasing individuals’ and young, adult and elderly people
group’s creativity, the maieutic (both marginalized and socially
process concentrates on the integrated) through projects
capacity of people potential to in the educational field carried
discover their vital interests out in cooperation with schools,
and freely express their own universities, institutions,
reflections basing both on their associations and social groups
experiences and their personal both at local and international
discovers and on the choral level.
verification of the proposals.

22
3. Refugees’ national situation:
a short overview

23
Refugees’ national situation:
a short overview

I
n the last years the deep In the following paragraphs
crisis that are afflicting the national situations related to
population of Africa and of immigration flows registered
the Middle-East and the better in each partner’s country
life conditions and political are presented, in order to
stability present in the EU, contextualize the methodological
have encouraged an important approaches implemented in each
increase of the immigration country.
phenomenon in the EU territory.
3.1.1 United Kingdom
Between 2014 and 2016 there

T
have been more than 2,6 million he UK is a signatory to the
accesses in the EU. The migration 1951 Geneva Convention
flows of this period have showed relating to the Status of
a substantial heterogeneity both Refugees, this defines a refugee
in the wide variety of country of and guarantees fair treatment.
origin and in the different causes
of the migratory movement. People in need of sanctuary have
the right to apply for asylum
People come generally from in the UK. Nationally, 90% of
Syria, Afghanistan, Iraq, Pakistan, asylum seekers came from Asian
but also sub-Saharan Africa (in or African countries in 2016.
particular from Eritrea, Nigeria The top five nationalities for
and Gambia). The eastern UK asylum applications were
Mediterranean route and the Iranian, Pakistani, Iraqi, Afghan
Central Mediterranean route and Bangladeshi. The highest
represent in this sense, the main number of asylum grants (before
paths for migration flows to EU any appeal) were awarded to
(Fondazione ISMU, 2017). Syrians, followed by Iranians,

24
Eritreans, Sudanese and Afghans. on the case, which is an increase
Those who do claim asylum in from 8,820 compared with the
the UK are barred from claiming previous year. The total backlog
any welfare benefits. in cases pending a decision
totaled 28,787.
Britain’s strict immigration
policy is notorious across Britain is not Europe’s top
Europe; recent news coverage recipient of asylum applications.
of the ‘Windrush scandal’ In 2017, Germany, Italy and
has highlighted the ‘Hostile France all received at least twice
Environment’ policy created by as many asylum applications
then Home Secretary Theresa as the UK. In Germany alone,
May in 2012. However, this 199,200 asylum applications
antagonistic approach to asylum- were made. Britain received less
seekers does not prevent the than 3% of all asylum claims
UK from being the third most made in the EU during last year.
popular ‘destination country’
sited by refugees. Britain offers no asylum visa.
In fact, there are very few, legal
In 2017, an estimated 668,600 ways for refugees to safely escape
people sought safety in Europe. their country and claim asylum
Britain received just 26,350 in another country. People who
asylum applications, a 14% are seeking asylum make up a
decrease since the year before. tiny proportion of new arrivals
Many of these were rejected, and in Britain; 26,350 of them were
asylum seekers sent back to their seeking refuge in 2017, although
country of origin. not all people seeking asylum
are granted permission to stay
By the end of 2017 more than in Britain. The top 3 countries
14,600 asylum applications had of origin of people applying for
been waiting for longer than six asylum in Britain in the 2017
months for an initial decision were: Iran, Pakistan and Iraq.

25
Main challenges for refugee
integration In 2017, 27,331 people were
imprisoned in immigration

T
he British asylum system detention centers; among them
is extremely strict, many people seeking asylum.
with just 29% of initial 54% were released back into the
decisions made in 2017 being community. In 2017, 44 children
been grants of protection, and were locked up in immigration
appeals made through legal detention despite a Government
challenges providing more promise in 2010 to end the
protection than government. practice.
One way which refugees could be
allowed to travel to the UK safely At the end of last year 44,850
is through the Mandate scheme, asylum seekers and their
which enables refugees in other dependents were being
countries to join their family supported by the Government
members in Britain. However, (under both section 4 and
this route is rarely used by the section 95 support). This figure
Government and just 2 people has risen since 2012 but is still
arrived as Mandate Refugees below the figure for end of 2003
in 2017. Only 390 have arrived when there were 80,123 asylum
since the beginning of the seekers being supported.
Scheme in 2008.
3.1.2 The Netherlands
794 children who arrived in

I
Britain alone were granted t is not easy to answer the
asylum in 2017 but are not question about the exact
allowed to bring their parents number of refugees living
or siblings to join them in in The Netherlands. This
safety. The top country of origin depends on the definition of
for new applications from the term ‘refugee’ that is used.
unaccompanied children was According to the UN there were
Sudan, followed by Eritrea. 101.744 refugees living in

26
The Netherlands by the end of
2016. But other figures mention B. when you cannot return to your
home country because of the
200.000 to 250.000 refugees risk of being foltered, or get
living in The Netherlands. an inhumane or humiliating
Most of them are coming from treatment or punishment
countries as Syria, Afghanistan,
Iraq, Iran and Somalia. C. humanitarian reasons concerning
somebody’s personal departure
from his or her homeland
The last decades there were huge
differences in the numbers of D. humanitarian reasons concerning
asylum seekers from year to year. the overall situation in the
In 1994 more than 50.000 people homeland
applied for asylum and till 2001
the numbers were constantly Medio 2014 the humanitarian
over 20.000. After 2001 the reasons (c. and d.) were deleted
numbers decreased to an average and no longer reason to give
of 10.000 to 15.000 per year. a permit to stay. Looking at
In 2015 the number of asylum this development is it pretty
seekers increased significantly clear that the policy in The
to 58.880 with almost 50% of Netherlands towards refugees
them coming from Syria. Due and asylum seekers has become
to the agreement between the more and more strict and limited.
EU and Turkey about the Syrian Compared to other European
refugees, the number of asylum countries The Netherlands is with
seekers decreased in 2016 to 1,6% of all the asylum seekers in
31.642. Europe (in 2016) on 9th position
regarding the percentage of first
Up to 2014 there were 4 reasons asylum applications. This was
to give asylum: 3,9% in 2014 and 3,4% in 2015.

A. when you are a refugee and fear Although it is hardly possible

for being prosecuted in your to get asylum for humanitarian
homeland because of race, religion, reasons, the percentage of
nationality, political opinion,
sexuality.

27
positive decisions increased and a deliberate and safe choice
a tiny little bit. Looking at the for a lower language level. Also,
top 10 of nationalities, asylum defective information leads to
applications from Kosovo and choices of which the refugees
Albania were all rejected, and cannot foresee the consequences.
applications from people from
Syria (96%), Eritrea (93%), These conclusions came from a
Iraq (58%), Afghanistan (52%), research by Vluchtelingen Werk
Iran (73%), Somalia (50%) and Nederland (The Dutch Council
of Stateless people (91%) were for Refugees) described in their
mostly rewarded. Compared ‘IntegratieBarometer 2018’.
to other European countries The Dutch integration policy
The Netherlands is with 72,1% almost seems in practice more
positive decisions on second an obstacle than a good means of
position. Mostly for asylum integration.
reasons a. and b.
Refugees realize that language is
Main challenges for refugee very important for participation
integration in society, because it helps them
to communicate, make contact

R
efugees are very motivated with Dutch citizens and in finding
to integrate. Yet almost a job. But they do emphasise that
50% does not pass their in the process of integration
exams within the prescript time. there should be more attention
Complex rules, bad information, for building a network and
stress and worries about the social contacts. This would be
whereabouts and wellbeing of very helpful for the integration.
their family are huge obstacles. Refugees that have contact with
Heavy sanctions for those who Dutch citizens learn the language
do not pass their exams on faster and easier.
time (a fine of € 10.000!), lead Vluchtelingenwerk Nederland
to risk avoiding behaviour like advises the minister of Social
postponing their homework Affairs and Employment to take

28
more care of the ‘person behind concentration in the Greece
the refugee’ and look at their territory.
personal circumstances, use a
flexible integration time and use In Italy in 2016, the irregular
‘motivation’ instead of ‘mistrust’flows have registered even higher
as starting point. values than in 2014, recording
more than 181,000 immigrants.
3.1.3 Italy According to UNHCR data’s, in
July 2016, 93% of people who

I
disembarked in Europe have
n Italy, the phenomenon of reached the Italian Regions of
migration flows has registered Sicily, Calabria, Apulia, Campania
an intensification from 2011 and Sardinia.
reaching its peak in 2014, year
in which irregular entries have Despite the decline of arrivals
reached their maximum value on the Italian coasts of 2017,
compared to historical data; Italy remains one of the main
more than 170.000 (Fondazione receiving countries in Europe
ISMU). (Fondazione ISMU, 2018).
The limited number of legal
Since then the “migrant arrivals, the decrease in the
pressure” has entered inexorably number of births from non-
in the Italian political agenda, Italian residents and the
generating lots of debates and acquisition of Italian citizenship,
being leading subject of all [Link] all factors which have an
impact on the value of the
In 2015 the number of irregular currently registered migrants. It
migrants was slightly fewer is also demonstrated that Italy
than 154,000, due to the EU- is the EU Member State with the
Turkey deal that has significantly highest number of immigrants
impacted the fluxes through who acquire citizenship (Banca
Balkan route (Banca d’Italia, d’Italia, 2018).
2018) moving their higher Additional elements which have

29
an impact on the analysis of this on their understanding of the
phenomenon are the number of process they are going through
repatriations (indeed in 2016 and thus also on their possibility
the value of repatriation was of to receive the best service for
5,715 people out of over 32,000 their immediate integration in
removal orders - a little number the society.
when compared with the 50% The number of places available
European average) and of within the SPRAR system -
voluntary returns (in 2016 these Protection System for Asylum
were only 1,015 compared to Seekers and Refugees-(which
18,000 returns from Poland and offers integrated reception
9,000 from Sweden). interventions for refugees,
It is also relevant to consider international protection
the number of not declared applicants and beneficiaries of
departures which leave a blank subsidiary and humanitarian
space in the statistical data, protection), is very limited.
including also the number of Although the massive
those who have reached different migration inflows recorded
countries or who have gone back in 2014 has led institutions
to country of origin without to implement extraordinary
notice. reception measures for the
“temporary” accommodation
Main challenges for refugee of asylum-seekers, the CAS -
integration Extraordinary Reception Centres
- (which should be used as crisis

A
management system offering
t their arrival, migrants
basic assistance in the first entry
have to firstly proceed
moment), migrants can end up
with a registration as
staying months or even years in
asylum seekers or economic
these “temporary” places (Banca
migrants. In this first step, the
d’Italia, 2018). This affects their
lack of cultural mediators can
possibilities to be fully part of the
usually have a negative impact
society.

30
An additional aspect concerns which are the regulatory
the long-time participation of boundaries that can have an
migrants in the economic and impact on the involvement of
social life of the hosting country. migrants in the labor market.
In this sense an important The limitations coming from the
challenge for migrant integration applied legislation have a long-
is represented by their possibility term impact which is difficult to
to effectively access the national eliminate. This shows the need
labor market. A difference has for more inclusive policies in the
to be done between migrants labor market in order to allow a
for economical reason (which real engagement of this people in
choose a country based on the society and a real contribution
its occupational prospective) to the hosting country economic
and the asylum seekers who life. On this matter, Italy seems
are escaping from dangerous to be one of the most permissive
contexts in order to save their life countries in terms of access to
(who in this case do not evaluate the labor market for asylum
as first element the economical seekers: allowing to work after
and occupational aspects). 60 days from the submission of
It is also relevant to examine the application*.
*The data reported in this chapter are taken from:

UK
Refugee Council, available at [Link]
Bristol City Council (2018), at [Link]

The Netherlands
Data in section 3.2.2 come from the publication ‘Vluchtelingen in getallen 2017’ by Vluchtelingenwerk
Nederland, based on information from IND, COA, CBS, Eurostat, UNHCR, and from the
‘IntegratieBarometer 2018’ based on a research by the Verwey Jonker Instituut in assignment of
Vluchtelingen Werk Nederland (available at [Link], 2018)

Italy
Data in section 3.2.3 come from the following sources:
Ambrosini, M. et al., Fondazione ISMU, Ventrieesimo Rapporto sulle migrazioni 2017. (2018). Milano: F.
Angeli.
Ballatore R. M. et Al., Banca d’Italia, Questioni di Economia e finanze. I rifugiati e i richiedenti asilo in
Italia, nel confronto europeo. (2017). [ebook] Available at:
[Link]
Frontex, Risk Analysis for 2016 (2018). [ebook] Available at: [Link]
Publications/Risk_Analysis/Annula_Risk_Analysis_2016.pdf

31
4. REACT – Methodologies and
models to integrate refugees
through Theatre

32
REACT - Methodologies and
models to integrate refugees
through Theatre

T
he following chapter is focused on the three theatre approaches
at the basis of the performance of the project. Each of them
is structured following the same framework, to facilitate
understanding of the different methodologies, target involved and the
impact not only on their lives but also at community level. Moreover,
after each model’s presentation, a specific space is dedicated to common
case studies occured during the implementation of the project. For the
future readers these can be useful indications or recommendations in
order to reproduce them in other contexts with similar cases.

Organization acta Community Theatre Ltd

Country United Kingdom
Name of the ‘It’s my Life’: theatre and language development with women
performance from refugee backgrounds at Hannah More School (year One –
& short 2016-17)
description ‘Lost Sheep’: young male refugees from Sudan, Eritrea, in
partnership with Ashley Housing
organisation, providing housing for refugees (Year two – 2017-
18)
Also ‘Dream On’, re-rehearsed for inclusion in REACT Festival;
Four women and one man from Sudanese, Somali, and
Bangladeshi communities

33
Target Group • “It’s my life”: 20 Women from refugee backgrounds,
aged 23 - 40 (Somali, Bangladeshi, Sudanese, one English
woman).

“Lost sheep”: 19 Young male refugees newly arrived in

the UK, all in their 20’s – (Sudanese, Eritrean, Afghani,
Nigerian)

Both groups were single sex, reflecting the projects cultural

sensitivity. All participants had English as a second language.

Also, Dream On, four women and one man from Sudanese,
Somali and Bangladeshi backgrounds.

34
 Working acta has developed a methodology which uses theatre as a
Methodology way of encouraging participants to use their creativity
and share stories. The process will take several months, with
groups meeting weekly for theatre-based workshops over
that period. The material gathered from the workshops will
then be used to co-create an original piece of theatre to be
performed by the participants within the community. The aim
throughout is to create a process in which participants
and facilitators are equal partners, and a final piece of
theatre which is co-owned by all engaged in the process.

35
This process is divided in 2 main phases:

Engagement

A period of engagement – lasting for 4-8 weeks - will be

undertaken in order to identify and engage participants
working closely with a partner organisation in contact with
potential participants, necessary to encourage them to get
involved with the project. A series of ‘taster workshops’ will
then be delivered with these participants to demonstrate
the accessibility of the process, to develop trust between
participants and facilitators and to have fun. These workshops
include games, role-play, and improvisation. At this stage,
many participants will engage, from which a group of regular
participants will be formed.

Play’s development

In the second phase (lasting at least 10 weeks), discussion,

role-play and improvisation are used to explore ideas towards
developing a story from which the play can be formed. This
will include development of a written script if required. A
variety of devising techniques may be used (e.g. beginning
with characters, an issue of concern or topical storyline, physical
theatre, verbatim theatre, documentary theatre, stand –up, soap
opera, and acta’s ‘Julie Story’ technique - see below). Through
this devising process the play is created. When the detailed
scenario or script is finalised, the play will be rehearsed for
performance. Throughout this process, the acta workers will
remain the same, moving between facilitating play creation,
developing scenario, script writing, producing and directing.

36
A working methodology to ensure participants’
involvement: acta participants face a range of challenges
to engagement and performance; complicated lives, family
responsibilities, cultural attitudes to theatre, lack of
confidence, feeling of exclusion from arts and theatre. Our
methodology has been developed to manage these challenges,
with the following features:

• Flexibility – we have learned to adapt around the

complicated lives of our participants, and work with who
we have, when we have them

• Relevance – working with partners to identify needs and

tailoring projects to the need of individuals – be it lack
of confidence in using English language, challenging hate
crime, celebrating culture

• Ownership and equality – ensuring the process is led by

the participants involved, creating a framework in which
their creativity is stimulated

• Respect – valuing participants as the experts in the story

they have to tell and respecting what that story is; it is
important not to go into the project with a fixed idea of
what interests the theatre-makers.

• Fun – Enjoyment is central; participants will return and

commit to the project if they enjoy the experience, if they
laugh together and have fun.

37
 Main Both ‘It’s my Life’ and ‘Lost Sheep’ were conducted on the
timeline of same structure.
performance ‘It’s my life’ began in October 2016 and continued with weekly
development workshops and rehearsals leading to performances in May
2017.

Lost Sheep – the project began with ‘tasters’ in September

2017, with the group developing during the autumn, and
performances in March and April 2018
Equipment The plays were both presented at acta’s theatre in South
& structures Bristol, and used simple sets and props, created by acta’s
used Production Manager and Designer.

‘It’s my life’: a simple set was created, using raised areas

to depict four different locations – living room, playgroup,
bedroom/study, and central exterior. Theatre lighting was
used to focus on action in these. The piece was performed in
contemporary dress, designed in most part by the participants.

Lost Sheep: a simple set, with two raised areas identified as

two neighbouring farms, a central space for exteriors; The
set included a specially commissioned painting depicting
a Sudanese landscape, and three 3D sheep, which were
particularly enjoyed by the audiences. The piece was
performed in traditional Sudanese dress.

38
 Activities ‘It’s my life’
organized
For acta’s project, acta Associate Director Ingrid Jones
and Foundation Drama Worker Tracey Harvey worked in
partnership with Hannah More School in Bristol to engage
a group of women from a range of nationalities and refugee
backgrounds, including Somali, Bangadeshi, and one White
British woman.

The initial engagement with the women was to offer a series of

drama-based workshops aimed at improving English language
and communication, and at this stage the acta staff worked
with 23 women over a period of eight weeks in Autumn 2016.
These workshops included games, role-play, improvisation
and discussion, and were concerned with developing skills in
women, but also trust between the participants and the acta
facilitators. The aim, above all, was to make the workshops
enjoyable to have fun, share stories and laugh together. By the
end of this process there was a core group of eight women who
became regular attendees.

39
The acta facilitators then began to use the next phase of the
project, January – May 2017, using workshops to encourage
the group to raise issues and subjects which were important
to them, and then use these as a starting point for improvised
scenes, creating situations. After a few weeks, the facilitators
worked with the group to develop a storyline and characters
based around the improvised scenes, using an acta devising
technique called ‘The Julie Story’.

The “Julie Story”

In this exercise, the whole group are involved in giving ideas about
the life of a central character – the ‘Julie’. The Facilitator draws
a stick-drawing on a flip chart, and asks the group to name the
character, its age, sex, where it lives, who it lives with. The group
answers, and all answers are used to gradually build up a story
around the character. Then more detailed questions are asked
‘What are they afraid of?’, ‘What makes them happy?’, ‘What are
their dreams?’. As the details emerge, the Facilitator helps the
group to identify key ‘happenings’ or ‘moments’ in the story which
could be scenes in the play. These scenes are put into a rough
structure, then this is improvised by the group. This is then the first,
rough draft of the play, which will be honed and polished over the
following weeks until performance.

From these sessions a full scenario of scenes was created. It

was decided not to write a script for the group, as the written
word might have proved a barrier to the group members, all of
whom were learning English as a second language.

The play focused on the difficulties of young Somali women

settling in Bristol, and the cultural differences to traditional
expectations of their Somali parents and grandparents.
The play was titled ‘It’s My Life’ and performed twice at the
actacentre on 23 & 24 May 2017, watched by 140 people (82%
capacity), with over 50% from BME backgrounds, and 68%
who identified as ‘not regular theatre-goers’.

Following the performances, an evaluation session took place

with the participants at which they watched a film record of
their performance; a process which director reported was
useful learning for the whole group.

40
By Artistic Operators

‘The young men from Ashley Housing didn’t mention the

word ‘refugee’ once, not once in all those months of working
on the project’. Aqeel Abdulla, acta Foundation Drama
Worker
‘This festival can help people realise that no-one from an
ethnic minority is a spokesperson for that minority, but is
speaking for themselves, as an individual, with their own
experiences and stories’
Aqeel Abdula

Lost Sheep

Given that the ‘It’s my life’ project

involved people who had arrived in
the UK a few years ago, and were
more settled, acta wanted to make
some theatre with refugees who
had arrived more recently and were
finding it difficult to settle into
their new country. acta undertook
a series of ‘taster’ workshops in
partnership with refugee agencies
and voluntary sector organisations
in Bristol (eg Borderlands, Refugee
Women of Bristol, St Pauls Learning
Centre, St Pauls Children’s Centre,
Ashley Housing Association). From
these a number of regular weekly
workshops began, with the aim
of making theatre for the REACT
Festival in March 2018.

‘This story is about living in Sudan, a small country village.

I hope the audience will learn about our culture, our
background, and how people live in rural villages’.
Ali, Lost Sheep performer

41
Using the same process as outlined above for ‘It’s My Life’,
the theatre project was implemented in partnership with
Ashley Housing, primarily using theatre as a way of developing
confidence and English language, engaging 20 young male
refugees from Sudan, Afghanistan, Eritrea. This process was
aided by the involvement of Aqeel Abdulla, a Syrian refugee
himself, and an Arabic speaker, who was able to translate for
participants in the early stages of the project; although he
noted, as a measure of the level of their growth in confidence,
that by mid-way in the project the participants no longer
needed him to translate but were confident enough to
communicate in English themselves.

Initial workshops were based around theatre games, and

simple improvisations designed to encourage the participants
to use and practice their English language skills. The
workshops were also designed to be enjoyable, using role-
plays, spontaneous and prepared improvisations, performing
small scenes in front of each other. At this stage the facilitators
were concerned with building a strong relationship of trust
with the participants, adopting a friendly and supportive
approach which promoted and encouraged cooperation
between the participants. At no point in the process did the
facilitators ask or encourage the participants to share stories
of their journey, or current personal situation in the UK, but
created a workshop structure which allowed the group to
choose subjects with which they felt comfortable.

Again, after several weeks, a regular group of participants was

formed, and this began to work on ideas for a piece of theatre
to be performed at the REACT Festival in March 2018. By this
point in the project the majority of the group were from Sudan,
and for one workshop the facilitators used the idea of proverbs
as a starting point for improvisation and story-building. In this
workshop the group shared two Sudanese proverbs, and then
created scenes based on their meaning. From the ideas and
improvisations developed in this session, the group was able
to create a whole new play, set in a Sudanese village, entitled
‘Lost Sheep’.

42
 The scenario was then developed over a period of 10 weeks,
and rehearsed by the group of six, with Aqeel Abdulla taking
a part in the performance, in order to support the performers
who were all encountering theatre and performing for the first
time.

The resulting play told two interwoven, simple stories, which

although based on life in the Sudanese village, also reflected
many universal issues and concerns; the damage created by
jealousy and gossip; the desire for revenge and how that can
rebound.

‘Lost Sheep’ performed three times on 21 March (35

audience), 26 March (80 audience) and 11 April (75 audience).
The show was well received by each audience, as people from
the white host community connected with the stories at a
level of common humanity, with much laughter as the schemes
and actions of the characters played out and they became
embroiled in the results of their actions.
Impact on the Target Group:
target and at
community During the “pre-show” phase, on reflection, the majority of
level participants reported on their nervousness at the prospect of
performing, based on their lack of previous experience. Over
50% of participants expressed excitement at the prospect of
performance, and the desire to show the audience what they
could achieve.
One participant from ‘Lost Sheep’, interviewed on film leading
up to the performance commented on his concerns about
performing, but that he was looking forward to having the
opportunity to share stories about the Sudan to British people.

‘The story was more a portrayal – people get an idea of what

it’s like in those villages – how we sort things there – people’s
different living experiences’

After the show, in both projects, the participants were agreed

that the experience of creating and performing the play was
very positive.

43
 They referred to their growth in confidence generally, and
in using English specifically; making friends; sharing their
cultural heritage; and addressing their challenges and
aspirations.

‘I liked it when Ingrid said could share what thinking with the
audience. It was my first time, I felt really enthusiastic, felt I was
doing something really good, tried to do my best’
Community:
Evaluation with audience members at this community level
demonstrated an increase in understanding and empathy with
the refugee performers, and a willingness to challenge their
own preconceptions.
Audiences in general reported their enjoyment of the plays;
an increase in their leaning about the different cultures, and
surprise at some aspects; they commented on the themes of
hope, aspiration understanding and kindness
Here they are some participants’ quotations to the shows:

‘It made me feel warm and happy, so proud for the performers
and entertained by their story. Glad we could share it’

‘I thought it was going to be a bit grim, as it was being

performed by refugees, but it wasn’t that at all, it was funny and
warm. It really made me laugh. And think’

Case Studies

M
any of the individuals was involved in the development
involved in the project of the ‘Dream On’ project and
have demonstrated used the play to communicate
the positive impact of their a strong feminist message to
involvement during the other refugee women to ‘follow
performance workshops. their dream’ to break away from
traditional roles for women
One young Sudanese woman as mothers and wives and to

44
make the most of education and often have often difficult and
employment opportunities. After complicated lives allowing to.
her involvement her confidence
grew to the extent that she gained It is interesting and worth noting
a place at a Bristol University, that the new plays developed
joined the Board of Directors at by acta as part of REACT did
acta, and is interested in learning not take as their subject matter
community theatre skills to take the ‘victimisation’ aspect of
back to Sudan. the refugee experience; the
stories were not about difficult
A young single parent involved in journeys and personal tragedies
the ‘It’s my Life’ project gained encountered along the way,
employment at acta on a year- but instead were plays which
long paid training placement, celebrated the national culture of
learning how to become a drama the participants, their aspirations
worker. She has now set up her and dreams, the challenges of
own after-school drama project settling in a new country. The
for children. audience reaction to all the plays
were warm and celebratory;
Several participants involved lots of laughter at the situations
from the beginning of the process and characters portrayed, a
were unable to continue to great deal of learning about
performance as their confidence the cultural background of the
and language skills improved refugee performers, and a real
so much they were able to sense of the empathy and ‘shared
gain employment and access humanity’ which the project set
educational opportunities. out to achieve.

A common difficulty with

workshops was the often-poor
attendance and punctuality of
participants. As an organisation,
acta recognises that participants

45
“We learnt to work together as a team, we would help each other
backstage, looking after each other’s props, cueing people when
on, helping with lines, supporting each other.”

“When the audience come, you feel like you’re doing something
good.”

“This was the first time a Sudanese woman had got on stage to
tell her story. It had never been seen before. I hope that lots of
women from my community get the confidence to be involved in
creative writing and drama”.
acta participants

46
Organization Rotterdams Wijktheater
Country The Netherlands
Name of the 1. Short piece – presentation by three young men from
performance Syria, living in the asylum centre in Rotterdam (year one
& short 2016/2017)
description
2. ‘Kom terug’ – production made by 12 refugees and locals,
coming from Syria, Guinea, Eritrea, Afghanistan and The
Netherlands (year two 2017/2018)
Target Group Refugees with a temporarily permit to stay and living in the
Netherlands for approximately 2 years, and locals. Participants
were male and female, young and old, different cultures and
nationalities, enriching the target we worked with.
15 people involved – aged 26 – 66 years old – from Syria,
Afghanistan, Guinee, Eritrea, The Netherlands.
Working Pop-up Theatre is the main methodology which has been used
Methodology by RWT in the context of REACT project. This methodology
has been developed in 2016 in order to stay visible in all
parts of Rotterdam and connect to a wider variety of groups
in different neighbourhoods. At the same time, it is a method
to avoid the drop out of participants during the rehearsals,
mostly because it is difficult for them to connect themselves
for more than a year to the project. A solution could lay in
start working with short interventions leading to a small
presentation (first acquaintance with theatre), which step by
step could lead to a bigger performance. In this way we could
connect people from different neighbourhoods to each other
and come to a more diverse group of actors and a diverse
audience.

47
How Pop-Up theatre has been developed?

The pilot started with two small groups in different parts

of Rotterdam. People in both neighbourhoods were invited
to come to a theatre meeting. The meeting started with a
small performance of the workshop facilitators. During that
performance people were invited to share their thoughts,
feelings and stories about their town and about what made
them feel at home in Rotterdam.

Sometimes a short game was needed to help people to tell

their story and participate in this process. At the end of the
first meeting they were all asked to join the Pop-Up Theatre
which meant: four rehearsals and a small presentation based
on their stories for a small neighbourhood audience. The
people that did not join the Pop-Up Theatre were finally
invited as an audience for the small presentation.

The second group followed the same procedure and also made
a presentation of approximately 30 minutes. After the first
presentation in their own neighbourhood, both groups were
brought together in a mutual presentation where they were
each other’s audience. Bringing these two groups together
created the opportunity to start a dialogue between people
with different opinions in places where they normally don’t
meet. By making cross-overs like this it was possible to
create a network of interactions throughout the whole city of
Rotterdam. And as a spin off from all these presentations from
all these different groups, a new group could be formed as a
starting point for a new, larger production with participants
from all over town.

48
Pop-up Theatre & REACT

RWT decided to use the Pop-Up Theatre for the REACT project.
For several reasons:

1. October 2016 a new asylum centre was about to

open in one of the most complex and underprivileged
neighbourhoods of Rotterdam, which caused a huge
uproar amongst the locals living in that neighbourhood.
The Pop-Up Theatre could be a good way of starting a
dialogue between the newly arrived refugees and the
locals.
2. Since the Pop- Up Theatre concept only took a couple of
weeks per group, it was possible to work with the new
asylum seekers, from whom it was well known that they
only would stay in the asylum centre in Rotterdam for a
couple of weeks.

About: meeting people and knowing each other on

the stage

“In Iraq I had a lot of activities, I had many friends and

I was often outside. I was lonely here. This stage group
took my hand and said, ‘come on’. I love you all.” Man,
Afghanistan who lived in Iraq for quite some time.

49
 Main Due to local delays and difficulties in implementing activities
timeline of related to the reception center, the activities of the first group
performance started on November 2016 and ended in April 2017. Then, a
development new group for a second project started after summer 2017 and
run through June 2018 with a last show on the 7th of June.
Equipment The stage design was very simple, with just a few props. On
& structures purpose, because the directors wanted to put the actors
used in the middle and be the centre of attention. Most of the
participants came to the Netherlands with hardly more than a
suitcase with some clothes. All they possessed at that moment
was “yourself and/or your family, your name, your language
and your memories”. The light was very sober, starting with
small flashlights to illustrate that everybody enters this world
alone. This scene was followed by a scene in which the actors
light themselves while introducing themselves. There were
no theatrical costumes, everybody was dressed in their own
clothes, to emphasize how they distinguish themselves from
the others. There was only a little structure in the colour of
the clothes so that there was a good mix of colours on stage
instead of uniformity.
And furthermore: suppose it was possible to get visa for
everybody and to perform live at the REACT festival in Bristol,
in that case a huge stage set would be impossible to transport
to the UK.

50
 Activities The activities which led to the development of the
organized performance had a more complex process which involved
mainly 2 groups of people. However, this has brought really
interesting results which made RWT achieve the expected goal.

A difficult implementation context

In 2015 the council of Rotterdam decided to plan an asylum

seeker centre in the Beverwaard, a neighbourhood build in the
eighties of the last century on the outskirt of Rotterdam. There
was a lot of resistance from the people living there. There were
riots where the police had to intervene, and the mayor showed
up on several public meetings to explain the position of the
council. As in more places in Holland people were afraid for
the unknown, for social disturbance and an unbalance in the
number of local residents and newly arrived asylum seekers.
Autumn 2016 the asylum seekers centre opened. The RWT
saw this situation as an opportunity to start a dialogue and
bring the opposite groups together through theatre.

It was not an option to work according to our standard

methodology and work with a group for over a year, ending
in a performance of almost one hour. It was well known
that asylum seekers were moved from one asylum centre
to another and that they probably would stay in the asylum
centre in de Beverwaard for a couple of weeks, or months.
Although the RWT had a lot of experience in making theatre
with refugees who mostly lived in the Netherlands for several
years, working with newly arrived refugees was new. Because
this group constantly moved from one asylum centre to
another, the RWT had to work fast for over a short period of
time. The Pop-Up Theatre therefore seemed a perfect concept
for this group of newcomers.

It was the intention to start with two groups in the asylum

centre in Rotterdam Beverwaard and two groups of locals
in the Beverwaard close to the asylum centre. Knowing that
there had been some resistance in the neighbourhood while
the asylum centre was built, we thought this would be a good
opportunity to use the Pop-Up Theatre as a starting point for a
dialogue between neighbours.

51
In 2016 most of the asylum seekers were young men and
young families coming from Syria, Afghanistan and Iraq. Most
of the people in this centre had a temporary residence permit
and were waiting for a house nearby in Rotterdam. This means
that most of them would stay for a short period of time in the
asylum seekers centre, being in a procedure full of uncertainty.
Besides that, they needed to learn the language, tried to get in
contact with family in war zones and were constantly adapting
to new situations.

The start of the project

The RWT started with meetings in the asylum centre. At the

beginning, this was not easy because the direction of the
asylum centre was not willing to give the opportunity to work
with the people living there. It was necessary to convince
them of the integrity and objects of the plans. Finally, it was
permitted to have some meetings, most of the time with
different people. After these first informal meetings in the
asylum centre, the directors invited the participants to come
to the RWT theatre close to the asylum centre where they
had better circumstances and more opportunities to work
with the participants. A group of ten Syrian boys was formed.
After a while this group fell apart and only three Syrian boys
(not living in the asylum centre anymore) stayed in. With
them a presentation was made for the REACT meeting at the
International Community Art Festival (ICAF).

It was a frustrating period. Every time there was the feeling

to start over again. It forced the directors to think again about
their goals and intentions. And also, about the effectiveness of
the concept of the Pop-Up Theatre for this purpose.

Lessons to be learned and questions to be answered

Three important questions arose from this first project, which

were not answered so far. These questions were crucial to
determine the process for the next phase of the project.
If: participatory theatre as a tool to challenge prejudice and
misconceptions, develop empathy, and promote intercultural
understanding between refugees and host communities then:

52
1. What is best moment for refugees to participate in a
community theatre project?
Is there a best moment where people can tell their stories in
a way they feel the freedom to tell what they want?

2. What story will be told and what is the relevance for

that moment for that people to tell their story and that
audience to listen to that story?
Who is making the story? The actor? The theatre maker?
The audience?

3. In what theatrical tradition and or format the

performance should be made?
The Syrian way of performing differs from the Dutch way
of performing. Is it possible or necessary to make a blend
and what is the best theatre tradition in which performers,
theatre maker and audience feel comfortable?

The artistic team did not have enough answers for the
questions that were raised during the process so far. For the
next period they decided to follow a new way to answer these
questions and made a new start in making community theatre
with refugees. Three lines were developed:

1. the finalization of the community theatre piece (which is

the current method explained in this session)

and, in support of the development of this piece:

2. a video documentary
3. a research

Community Theatre

Before a new group was started, the directors wanted to

know the motivation of refugees for participating in a theatre
project. What’s in it for them?
From conversations with refugees it became clear that they
had a huge need for social contacts in a new city, in a foreign
country. In places where they come like the language class,
they mainly meet other refugees.

53
They hardly have opportunities to meet with local people
from Rotterdam. In addition, learning the language is one
thing, but having the courage to speak this language is another
and of great importance to integrate. Being in groups where
you can’t practice the new language gives the refugee less
possibilities to be in contact with new groups (the research of
VluchtelingenWerk Nederland confirms this experience).

Esther de Bruijn with Stefan van Hees took responsibility for

this part of the project. She visited several language classes
from VluchtelingenWerk Rotterdam and invited the refugee
students to join a theatre project. She did not mention that the
project was part of larger international project with a focus
on refugees. She just wanted them to join theatre, together
with other participants coming from the local communities of
Rotterdam. These refugees already lived in the Netherlands
for 2 years, they had a house, an income and more structure in
their lives and were eager to get in touch with Dutch people.
The first meetings more than 30 people showed up. Some of
them dropped out, but after a couple of weeks a solid group
of 12 was formed. A mixed group of male, female, different
ages and nationalities, refugees and locals who all wanted to
commit themselves for a longer period of time. In this smaller
group of participants Esther could create a safe environment
where the participants could listen to each other’s stories,
could do the theatre exercises, the improvisations and – very
important – could speak the Dutch language because that
was the main language in the rehearsal studio. By choosing a
theme as: what is home? all participants could contribute with
stories from their own background. Therefore, there was no
special focus on any group of participants. In fact: she followed
the standard methodology of the RWT, but she also decided to
visit each participant at home for a one-to-one interview. That
way she got better insight in their personal background. Above
all, because she made that effort, the participants felt that they
could trust her and told her more about their lives than what
they had done in the rehearsals. For some participants this
was a change. Because of this in-depth interview, they dared to
open up more during the rehearsals in front of the group. They
stepped away from the safe and superficial stories toward a
true insight in what moves them.

54
Unfortunately, Esther was not able to finish the rehearsals and
use her interviews as basic material for a script and a final
presentation. As artistic director Stefan continued the project
and he decided – also because for reasons of time – not to
use the material Esther had gathered. In two months’ time
he worked with the group towards a presentation based on
theatre exercises, improvisations and movement, combined
with small textual contributions.
The material Esther had gathered will be used for an extra
production the RWT will make with the REACT group from
September till December 2018 and will be performed 5 times
around Christmas.

To support this process, 2 other initiatives were taken (which

are not included in the theatre approach):

Documentary

Looking at other projects in The Netherlands where refugees

are involved in a process of making theatre, director and
dramaturge Kees Deenik wondered how they managed the
questions that aroused from the first REACT project, and what
he could learn from them. By making a documentary about
this search for answers to this question, he could place the
questions in a larger, national – and probably international -
context.

The documentary reflects on the three raised questions. As

expected there was no consensus among the interviewee.
Special circumstances, different groups and goals made of
every contribution a unique story, but it gave some indications
and ideas to reflect on one’s own situation.

The answers to these questions can be found in the

documentary at the RWT website:
[Link]

In general, we learned that the refugee wants to meet, set in

a new environment, where he is building a new life where
a new story is created. Living together requires tuning and
affiliation.

55
 The refugee wants to show himself/herself as an individual,
get rid of a mark. No longer be a refugee, but a human being.
And for the theatre maker: be patient, take your time.

Research

To know more of the background of what factors influence

people to participate in a theatre project we did research
amongst the new group, through evaluation during all the
project lifetime. This has allowed to understand better the
target group and to empower the theatre process to be
implemented.

The full research report can be found at the RWT website:

[Link]

Impact on the Target:

target and at
community Pre-show:
level
Participants were refugees and locals:

The refugees wanted to participate for several reasons.

They felt solitude. Some of them had good contact with their
neighbours but others didn’t, mostly because the neighbours
don’t speak Dutch either. For most of them the theatre aspect
of the activity wasn’t the main attraction to join the project.
They just wanted to be active in the Netherlands. Besides
learning Dutch at school, they wanted to do something, have a
hobby and practise the language.

The main reason of the Dutch participants to come to the

meeting was to meet refugees. They felt powerless to watch
the news about them in the media. One participant also just
moved to Rotterdam and another one was very ill for a long
period and wanted to participate to experience if she could be
active again. She is a creative therapist and was willing to learn
more about the methods using in the community arts, and to
meet new people.

56
Post show:

All the participants started to emphasize how grateful they

were for the experience. They felt very welcome and happier
than in the beginning of the rehearsals, less solitude because
they made new friends, real friends, and felt safe to try new
things and to make ‘mistakes’. In acting/dancing but also
in practising the Dutch language. Although they found the
time the RWT took for getting to know each other and for the
improvisations using body, voice and space too long, they had
a lot of fun. They said it was relaxing and fascinating to learn
about each other’s history and talk about universal values.
Both Dutch participants and refugees mentioned how special
it was to be so close to each other and look in the eyes when
someone tells about his or her life. Some said it felt a bit
therapeutic and that is was helping them to dance with the
whole group and tell their own story. They have learnt a lot
about themselves and about other cultures. (See quotations).

Community Level:

All the presentations in all stages of the project found an

audience that was surprised by what they saw. That was both
on the theatrical part as on the stories that were told. In the
Netherlands the public debate about refugees is dominated by
stories of problems, crime and differences. What people saw
in the performances were common people with desires that
were not that different from the desires of the audience. This
was underlined by the performance of the mixed group we had
where we had stories from both sides.
Family members of our refugee participants saw their relatives
on stage in a way they never had seen them before. They
were proud, and it showed them a way to participate in a
new environment. Someone said to her sister:” I didn’t know
that you had courage to expose yourself in this way.” Talking
on a stage, in a language you are still learning, is like making
a leap forward. Language is maybe one of the most difficult
parts of becoming a member of a community. The process
of this project helped most of the participants to overcome
their shyness to communicate and gave them courage to make
mistakes and to learn.

57
 The helpfulness of our native speakers, the conversations with
the audience and making theatre were the best exercise for
their language education.

Recognition is a way to connect to a story. A lot of people said

that they recognised the stories as human being to another
human being. It is not always the story of the flight, the camps
and the hardships that impress most, but the daily life stories
of where you come from and how you lived a normal life
before there was a war. People said that they started to think
how they would react if they had to leave their social life and
country for a war and start a new life elsewhere in the world.
In the last play, less language was used and more body
movement. Not only the participants but also the audience
was surprised how much you can tell without words. In this
way there is no difference between people in the audience in
how they could understand the show regarding to the ability
to understand the Dutch language. It made a more universal
story where everybody could connect to. The audience reacted
to that by starting easily a conversation with the participants
after the show about what they had seen and what it meant to
them.

About learning the language through theatre

“In the beginning I could not

talk, everything is difficult. Now I
understand more. I was afraid to be
laughed at. In Arab countries you are
laughed at if you make mistakes in
the language. I was afraid to make
mistakes, but that is allowed here.”

man, Afghanistan

58
“I thought: ‘How can you make a play
with people who do not speak the
language?’ Something beautiful has
arisen!”

woman, the Netherlands

“In the beginning I wanted to stop,

because I thought I could not do it
because of the language. Everyone
said I had to stay. Now I am very
happy that I have continued. Now my
Dutch is better, and I stopped saying
sorry all the time.”

man, Afghanistan

“It was cool to dance, drink and really

be together and experience without
the language being a barrier.“

woman, The Netherlands

59
Case Studies

A
s previously explained, well received. The three actors
the long implementation seemed very happy.
of the project with the 2
groups of refugees allowed us After a while director Esther
to meet different stories which de Bruijn went with them to
highlighted specific features of a special Syrian evening to
the learning process in which the meet new people and do the
refugees were included. presentation they performed
during the ICAF. Then, one hour
Specifically: before the presentation, the three
boys refused to perform. They
First group: how hard to tell felt uncomfortable to do so and
a story is! said: ‘If we do this presentation,
people will film us with their
The first group started several telephones, put it on Facebook
times. Groups fell apart because and people in Syria will see us.’
people left to another asylum There was a sense of shyness
seekers centre or could move to a and shame and Esther agreed to
house. They faced new problems cancel the presentation. There it
over and over again and did not stopped. That evening they just
have any time to participate in told the audience about REACT
a theatre project. Finally, there and the plans. The boys danced
was a small group of three Syrian with the audience and in the end,
boys and they were the starting they met a lot of new people. The
point for a new group. With this directors learned that it takes
group a small theatre piece was more time to tell your story for
made and presented during an audience of people coming
the International Community from the same country and
Arts Festival. This presentation that their assumptions of what
ended in a group dance with theatre is not always correspond
the audience and was very to the participant’s vision.

60
Second group of different nationalities and
locals and to offer the refugees

F
or many participants the the opportunity to talk the Dutch
theater project was a language in an informal situation,
positive experience which without the pressure of any exam
they would not have wanted or test. This way they would
to miss. From interviews with gain the confidence in speaking
refugees it became clear that Dutch. Besides that, there was
they had a huge need for social also the opportunity to share
contacts in this new city. Being a stories and exchange information
refugee, living in asylum centers, about their background, dreams,
following specific language lives. The directors chose to
lessons for refugees, meant that work with a central theme
they most of all stay in a social that was interesting for every
environment of refugees. There participant, refugee and local,
is a limited possibility to get to so that everybody was able to
know locals and very often this is speak about his or her personal
also a bit scary and frightening. connection to this topic. A focus
For their integration in the Dutch on the ‘refugee’ was avoided in
society is necessary to learn the favor on a focus on ‘the human
language and have the courage being’ and an equal situation for
and confidence to practice it. every participant was created.
This is very difficult when you
hardly get in touch with local,The theatre project offered all
native speakers. The temptationthe participants a safe setting
to speak your own language in in which difficult, unusual,
confronting and hard situations
the asylum center is big because
you are living amongst a lot ofpassed. Situations in which the
people coming from the same participants learned about their
country. own strengths, weaknesses,
constantly had to cross their
With this information, the RWT boundaries and were confronted
decided to start a mixed group with their own behavior and

61
that from the others (very often applying for jobs or are waiting
caused by cultural differences), for the decision if they could
encouraged to be creative start with a new education. So,
in the process towards the they are not sure if they can join
presentation. Finally, this all the project after the summer for
was one big learning process on those performances foreseen
many levels, for participants and beyond the project lifetime.
for the directors. Just one man won’t join this
new production, because of his
If we look in depth to the specific new job. All the others were
story of each participant, a very happy to hear that there
couple of them have passed is a follow up after the summer,
the most important integration because they really wanted to
and language exams in the keep in touch.
Netherlands. They have been

62
 anymore, and have to work more
to pay the bills.

Finally, it is interesting to focus

more on the development of
the story to be told. The people
involved showed more than
one example to be highlighted.
Which story do they want to
tell the audience? Some of the
refugees wanted to tell about
their lives at home, about the
good things (Syrian), or about
the bad experiences (Guinee).
Sometimes, it’s hard for them
to play, and as a theatre maker
Looking at more general you really have to talk about this
perspective, of course, RWT with your actors why they want
can assume that the timing to to share it with the audience, and
offer and make them join the why you chose to do so.
theatre project was the right one.
The participants with refugee A Dutch participant said,
background confirmed that. It
is perfect to be able to practice “If one of the project goals
Dutch in a safe environment in is integration, why don’t
a period that they had Dutch we just talk about universal
language lessons. They also values, like happiness,
had the desire to build a social family, home etc.”.
network, to get a voluntary job
or to have a new hobby. In a next
phase of their life, they would Then: in which tradition do you
have passed their language tell your story?
exams, have no alignment

63
In the second group there was
one participant who had a
different view on how to present
his life story on stage. He wanted
to do it exactly like it happened,
almost a literally illustration of
how it was, not in an abstract
way. It took some time to let him
experience the more abstract
way of presenting. Once he had
done that, he accepted it.

About making theatre: ‘The theatre lessons mean a

lot to me, it reflects society.
“Sometimes making theatre You can make contact with
is in simple things. For the audience through their
people with less stage eyes and feelings. My goal
experience, it sometimes is that I give information
seems difficult to let go of about my country to people
realism, to tell exactly how through theatre, and I
a situation was, instead also want to try to play a
of getting inspiration and role. Theatre is important
giving that a more abstract for society. Through the
form.” stories of the fellow players
I realize, there is a lot of
woman, The Netherlands
injustice in the world.’
“I did not expect the man, Syria
performance to be good, but
we got a big applause. That
was fantastic”

man, Afghanistan

64
Organization Centro per lo Sviluppo Creativo “Danilo Dolci”
Country Italy
Name of the “Un intervallo (nell’immensità)” – The play is about a story
performance in which reality and metaphor is continuously exchanged,
& short although the register delays more often on the boundary
description between the grotesque and surreal dimension. In the scene,
one after another, bizarre figures appear which interact
despite any event. Perhaps they are ghosts of past people, who
knows? In any case, they are there to witness an inexorable
presence/absence.

There is a strange pair of characters welcoming them. One

of them is very silent, while the other moves as a jester
extravagant.

All the actors are stuck between two realities not better
defined, as the same condition lived by migrants and asylum
seekers hosted in the centers of reception and waiting for a
pass to be able to do a simple thing: exist.

For the majority of the actors it was the first encounter with
the theatrical code - in some cases even with the Italian
language - with the difficulties and the chances that arise from
working on themselves, on their body movements, on group
dynamics. An alternative way of generating inclusion and
intercultural dialogue.
Target Group The initial group was made up of 10 refugees staying in
different reception centres, mainly coming from Gambia and
belonging to Islamic faith.

Some of them were non-accompanied minors or young people

who have recently reached the major age. To enrich the group,
as agreed with the Coordinator, other components who have
been in Italy for a certain period have also been included (one
Eritrean, one Mauritian, and one Portuguese).

Unfortunately, there was the participation of just one girl;

and this is something which has already occurred in other
circumstances.

65
 For this reason, it has also been useful and important to
include two female conductors in order to rebalance the
presence of the female gender in the group, a really important
factor to achieve the expected result.

After some difficulties with the group, the final group

performing the play was composed by 3 refugees, 2
immigrants and one Italian person (2 female and 4 males).

Working The methodology used has been very simple, a sort of

Methodology preparatory path for those who are doing theatre for their first
time.

The training sequence followed was quite standard and it was

composed by:

• Physical exercises for muscular warm-up;

• Team-building games;
• Theatre-specific exercises;
• Improvisations (only in the second phase of the project);
• Film-watching in order to increase their knowledge;
• Text-reading work.

The team of operators was composed as conductors of the

show, by the movie-director - psychologist, psychotherapist,
author and theatre director - and by assistants – actresses -
experts in theatre techniques.

The show conductors have already had different previous

experiences of “theater with refugees and migrants”. For this
reason, they have played a key role for the city of Palermo,
representing a reference point, both as individual operators
and as a cultural association (called “Nottedoro”), with regards
to the use of artistic language in the social and especially
intercultural field.

During many of these meetings there has been also a

representative of the Centro per lo Sviluppo Creativo “Danilo
Dolci”, who has supervised the implementation of the project’
activities and the management of the logistical and practical
aspects of the training proposal.

66
For the realization of the final part of the performance, it has
been crucial the role of an assistant director, who allows the
smooth implementation for the performance’s preparation.

The methodology at the basis of the preparation of the

performance was supported also by the approach developed
by CSC founder - Danilo Dolci - which is called Reciprocal
Maieutic Approach (RMA).

RMA method is based on the sharing process of answering,

exploring and creating. As the name itself recalls, the RMA
is a “reciprocal” process between at least two people and it
normally develops within a group, with a person that starts
asking some questions and other people that search for the
answers together and make other close examinations. In an
intense dialogue that stands for a new way of education based
on increasing individuals’ and group’s creativity, the maieutic
process focuses on the capacity of people potential to discover
their vital interests and freely express their own reflections
basing both on their experiences and their personal discovers
and on the choral verification of the proposals.

RMA as a methodology has been included in the past in

participatory theatre activities in order to develop empathy,
promote intercultural understanding as well as strengthen
interpersonal relationships between refugees and host
communities.

67
Finally, in order to provide a framework to the learning
process, a structure has been given to each workshop, mainly
covering three fundamental moments:

A. Welcome/Reception: including activities with specific

movements for the muscles to lower tension, running,
breathing and relaxation exercises, initial greetings, etc.

B. The emphasis on a lesson of the day which could have

been the target to achieve in each day of activity.

C. Final part and closing greetings.

68
 Main The development of the performance has been structured in
timeline of the following way:
performance
development • Recruitment phase, from December 2016 to March
2017: CSC Danilo Dolci, with the collaboration of its local
network and the municipality of Palermo, started to
advertise the project to the social operators working on
the field, in order to identify possible people interested in
participating to the workshops.
• First session rehearsal, from April to July 2017.
• Second Session rehearsal, from September 2017 to
January 2018
• Final Performance, on the 29th of January 2018.

69
 Equipment During the workshops, the following equipment was used:
& structures
used • Floor mattresses for the exercises, especially those ones to
relax and breath;
• Sticks for the improvisation activities’ and exercises on the
control of the body and personal movements;
• Posters and markers, used to better explain and describe
actions, motivations and the sequences of exercises and
performances to be implemented;
• Laptops and video to show examples of best practices and
useful trainings for participants learning activities.

The meetings were held at the Santa Chiara Association’s

premises. Participants have also used the furniture and tools
present at this venue, such as chairs, tables and other basic
equipment.

The selected place has proved to be the best and more

accurate choice. Indeed, it is usually attended by lots of
migrants and Italians of the neighborhoods. This has also
increased the opportunities to create cohesion, integration and
new connections within the local territory. Additionally, it has
assured a wider audience for the plays and for the activities,
producing in the meantime a wider impact on the local
community, with an interesting exchange of experiences and
opinions during all the lifetime of the project.

70
As previously said, the activities followed a precise timeline.
The main steps in which the activities have been organized are
the following, here briefly explained:

A. A series of preliminary meetings between the organization

and the show conductors;
B. The Identification of the participants;
C. The implementation of the activities of team building,
sharing the motivations and the methodologies with the
group;
D. The development and acquisition of the first theatre
techniques (building reciprocal trust and cooperation
among participants);
E. The use of “improvisation” as a technique to foster
individual and group expression;
F. The following phase has concerned the work of creation
of a set of scenes and so of valuable representations and
contents to share with the audience. Participants have
rehearsed several times each scene analyzing together
which could have been the most interesting situations to
be shown to the future audience.
G. After the selection of a list of scenes, participants have
worked together on the finalization of the show and of
their performance. There have been multiple rehearsal of
the final show, in order to guarantee the best final result.
H. The final performance.

Even if the development of the learning process of the

performance could seem easy, there are diverse activity
moments that were crucial for the implementation of the
project and that can give main suggestions and hints for the
future.

71
Practice the stage!

First of all, the importance of the public rehearsal: the

organization of specific pre-performances allowed the target
group to be prepared and acquire self-confidence and esteem,
encouraging them for the future performances. Specifically,
after more than two months of practice and full activities
(from April till June 2017), the group has been able to show its
“in-progress” work during several occasions:

• The 13th of June 2017, during a meeting with

representatives of UNICEF, including some members of a
similar project with migrants from South Korea.
• The 22nd of June 2017: an open rehearsal has been
organized in front of REACT’s partnership, showing
the working dynamics. The rehearsal has been widely
appreciated by all the staff attending the activities and
filmed
• The 24th of June 2017: the group had a short performance
in front of an audience of over 2,500 people in the context
of the Web Marketing Festival in Rimini (Italy), which
has been widely appreciated, receiving an enthusiastic
response and big rounds of applauses.

The above mentioned occasions were fully planned and

agreed with all the participants. The main idea was to verify
what meant to perform in front of a real audience, in a way to
balance and adapt to the emotions caused by the performance
experience. In this way, it has been a way to experiment
anxiety, fear, embarrassment, the ability to concentrate and
manage information on stage.

72
The big dropout

Another crucial moment was the big drop out of part of the
group.

Between the session of rehearsal from April to June 2017 and

the second part of rehearsal from September 2017, part of
the group dropped out from the project, right exactly after
Rimini performance: the group has decided not to continue
with the theatre show, even if the CSC staff and the conductors
of the activities had repeatedly explained the nature and
characteristics of the project.

According to director of the performances and his team, there

could have been numerous possible interpretations for such a
decision.

From a sociological point of view the answer could concern

their perception of the meaning of being in Europe, feeling
alone and lost, exposed to some potential exploitation.
From a psychological perspective the question arisen by
the conductors was: “What kind of conditions have they
experienced, and they still experience, as well as the different
logics they applied in the interpretation of community around
them?”.
From an anthropological perspective instead, the logics could
be related to the persistent mindset of colonialism and post-
colonialism that they have always been exposed to.
The situation was a not easy one to be solved and at the end
only 3 people of the main group decided to continue. This
experience has allowed to implement different approaches
and solutions to the following activities of the next months, in
different aspects of the theatre process:

1. It was identified a certain difficulty in sharing some basic

aspects of the trainings and the unwritten rules of theatre
- which can involve a rigid discipline, the notion of time,
the rule of being together in a class and especially to
respect the “golden rule” of being “on time” and follow the
time schedules. Regarding this aspect, different possible
solutions have been identified:

73
 A. First of all, to discuss separately with the person who
could have more difficulties;
B. To create a chat where it is possible to share
information about the meetings, pushing people to
respect both days and time schedules;
C. To simply write on a large billboard the main rules to
be respected to be effective during theatre situations;
D. To break the lessons when a problem is coming out in
order to discuss together on which could be the issue,
trying to find collective solutions.

2. About the difficulty to open not only to the others, but

also to an unknown audience, overcoming shyness
and insecurities; telling others own personal life and
experiences; being scared of judgement and of not being
appreciated. About all of these aspects, the conductors
have identified the following solutions:

A. The presence of other people (migrants and Italians)

who had already experienced a short previous
theatrical path of this type, has been very important.
Indeed, their willingness to present their stories have
helped the others, giving them an important example
B. In some cases, it has been asked to play some roles,
similar to those they have already lived, in order to
face indirectly the most difficult issues and themes;
C. Sometimes it was useful to use non-verbal
communication, telling concepts through the more
metaphorical body language; a mean which can be
surely vaguer but at the same time still a powerful and
efficient way to communicate and share information
that cannot be totally expressed and shared through a
detailed verbal description.

3. For what concerns the other kind of difficulties (such as

everyone’s personal needs, the difficulty in being guided
or by a trainer who was a woman, the objective difficulties
in working in the Ramadan period, etc.) the following
solutions have been identified:

74
 A. The organization of more specific and efficient days
and time in order to meet specific needs. For example,
during the Ramadan, the time of the activities was
anticipated in order to address participants’ needs
(since participants did not eat all day long and they
were weak and unable to carry on the activities at the
end of the day);
B. Participants rarely expressed the difficulty in
receiving indications on their work from women.
In any case, this gender dimension was perceived
and faced by setting the frame of the theatre as a
special space, where some «guides» others or certain
moments of tension were possible and indirectly
linked to the improvement of the stage performance.
C. As previously said, two women have been added to
the group in order to better balance these dynamics,
creating more inputs and a richer work environment.

4. Finally, in order to ensure a better commitment compared

to the initial group, a written agreement among CSC, the
artistic director and the workshop participants has been
developed, listing the tasks that each person/organization
had to do in order to reach the common objective. This
has been really useful since it allowed to plan together the
efforts towards a common objective – the performance –
clarifying the main intangible and tangible benefits of the
participation in the project.

75
Impact on the Target
target and at
community Pre-show:
level
The group which has participated at the beginning of the
project has been pretty shy and unsure of their potential as
actors, but in any case, they accepted the invitation to be part
of such an initiative. Their expectations were to find new ways
of expressions, new friends, to learn new interesting ways to
know themselves and to use what they have learned for the
future. As explained above, they had some difficulties on the
attendance of the meetings with the social operators due to
working reasons or for other commitments, but one of the
main message the artistic directors addressed to them was the
respect of the rule and the trust among each other. A big role
on the involvement of the refugees has been the community
network (most of the people came from Gambia) and the
immigrants people who participated in the rehearsal.

Post-show
The evaluation after the performance shows the maximum rate
in the self-assessment about the self-esteem, communication
and other transversal competences they acquired during the
process of learning. The performance itself was for them one
of the biggest challenge of their learning path since for them
it was the first performance in front of a big and unknown
public. Moreover, all of them have shown to have developed
language skills, by performing in Italian. Finally, they are still
in touch and want to continue with theatre in the next future.

At community level:
The audience was composed by many immigrants and
by people which are normally engaged in the social work
environment, but also, by people who work in the field of
theatre and in the development of migrants and refugees’
social inclusion.

76
The public has shown big appreciation for the show and the
performance of the participants. The have been very long final
applauses, but not only this. Many people have waited for the
end of the show to give their personal congratulations and
feedback to the actors and actresses.
This was not the first time that something like this happened.
Indeed, during the previous plays there have been the same
positive reactions, an important sign of a successful result of
the project’s activities. This has also been an indicator of the
huge potentialities of the actors involved.
The success of these activities has been also highlighted by the
numerous comments, feedbacks and publications occurred
in the following weeks through social media and emails.
An encouraging sign of the public esteem and appreciation
generated by the authentic engagement of participants in
these activities.

The success of activities carried out do not end here. Indeed,

the experience of REACT, and so the experience of community
theatre as an innovative way for migrants and refugees’
inclusion, has generated a new interest in this topic.

There have been many requests, for example from the local
community, for the implementation of new similar activities
and interventions of this type.

77
Case Studies given them the opportunity to
take back control over their own

T
he group has created a body and personal background.
strong connection and In this sense in particular, it
cohesion, finding in these has been an occasion to face
different phases and exercises, and evaluate own past without
a moment of connection, having necessarily to remove it as
involvement and sharing, painful and often characterized
discovering in these leisure by the global negation of the own
moments an absolutely unknown humanity.
way of staying together in a
positive and enthusiastic way. The shared activities and
The workshop was initially an work, improvising on the
important mean of aggregation, personal experiences, has given
reinforcing immediately participants the opportunity to
the desire for integration, bring out their emotions and
collaboration and for the creation feelings, too many times without a
of new connections also with the chance to express them, bringing
people outside of the group (as light to the personal background
it was stated by the participants of memories connected to their
themselves). home, personal ties, paths,
friends left, the stories of those
Then it has started to be more a who have succeed in getting
path to creativity, stimulating the there and those who did not
imagination of participants. It has make it.

78
5. What did we learn?

79
What did we learn?

I
n this chapter, each partner there were key members of
has been asked to express staff who supported the project
what they have learnt during throughout, encouraging
the implementation of the participants to engage, and, in the
project. As it has been described case of Ashley Housing, taking
in the previous chapters, each part in the drama workshops
methodology has followed the themselves.
needs of the local target, thus
making each partner adapt to Deciding the best time to engage
the situation and adopt the right refugees – most refugees who
measures to deal with the specifichave recently arrived in their
issues. new host country have many
difficulties to face and calls
5.1 The experience of acta on their time. They are not in
complete control of their lives,

A
ccording to acta and at various times participants
experience, these are in acta projects had to stop
the main lessons learnt participation against their will
during the implementation of the as they were moved to another
activities: city, made to attend English
courses or job center meetings,
Identifying participants – the or faced some personal difficulty
REACT project has underlined to connected to their refugee status
acta the importance of working
closely with good partner Attendance and punctuality –
organisations who are already acta worked with many more
in contact with refugees. In both participants than those who were
cases, with Hannah More Primary able to continue into performance.
School, and with Ashley Housing, This non-attendance and lack

80
of punctuality made it difficult organisations. From these
for the acta facilitators to devise
workshops acta will encourage
and rehearse, as they were never individual participants who are
certain who they would have in most interested, to join two new
their workshop, or who would weekly groups which will then
make the final performance. work on new performances.
Although this is a particular This will ensure that there are
difficulty, acta accepts it as anmore performers in the final
unavoidable consequence of presentations and will also give
choosing to work with people participants the opportunity
who have challenging lives. to work with a range of other
However, it did mean that for people.
both projects, the number of Following conversations,
participants who made it to networking and learning at
performance was much smaller the REACT Festival, acta is
than the total who were [Link] looking to develop a new
European project to continue
Suggestions for future and develop the work of the
projects REACT project, involving some
new partners in a proposed

a
programme to share learning in
cta will be working from
areas of training, employment
September 2018 – July 2019
opportunities for refugees, and
to create new groups for
working towards co-productions.
refugees and migrants, supported
by Paul Hamlyn Foundation
By Refugee Agencies
and Network for Social Change.
Following learning from REACT
‘20 people fed into this
acta is using a new approach to
project even though only 5
this work, with a series of 4-6
performed, and they all had
‘taster’ workshops in September/
an input. I have definitely
October 2018 in partnership with
noticed the impact it’s had
a number of different refugee
on people. One participant

81
 told me that he wasn’t uncertainty. Beside that, Dutch
going to come as he was so is a difficult language for them
stressed, but he came out of to learn. On the other hand, they
the performance feeling so are very eager to get in touch
relaxed’. with people in the new country.
Participating in a theatre
Matilda, Project Worker, Ashley project where they are asked
Housing for commitment, one must be
able to feel free to tell their story.
5.2 The experience of The RWT learned that working
Rotterdams Wijktheater in the asylum seekers centre is
possible as long as people can

D
eciding the best time to come when they like without any
engage refugees - for pressure on any result. Doing
participants in a theatre games, telling stories and having
project, it is important that fun is the best possibility. It is
there is some ease and basic important to realise the situation
trust of what the new life in of the refugees in relation to the
a new country can be. When specific phase of their asylum
people enter the country, they procedure. This is crucial for the
go through an intense period possibilities of commitment for a
where they have to engage with short or a longer period.
a lot of rules, formalities and Knowing the motivation - a

82
simple but important question
should be asked: does a theatre
project fit in the refugee’s life
and what is in it for them? The
effect and result of a theatre
project depends highly on
non-theatrical, more social
and practical circumstances
of the work. We learned that
the motivation of people was participant fit in my traditional
strongly influenced by the factorconcept? The RWT learned that
that we worked with a mixed you have to be flexible in concept
group of refugees and local and adapt quickly to new groups
people. During the process we and new situations. People from
saw that the safe environment different cultures have different
we created gave good ground for views on what is theatre and
rehearsing language, ask for helpin what way they can be part
in any procedure the refugee of it. The community theatre
was in and giving them a family maker can be trapped in his own
feeling. successful and well-developed
format. Being flexible means that
a pre-defined plan and result
doesn’t always work. During
this project there were several
occasions that the directors had
to leave their plan and make new
choices of what would be their
goals and the end product. Time
is hereby a restricting factor. We
learned that you must have the
courage to take your time and be
Being flexible - the theatre patient.
maker can ask himself: does this

83
 About life

“I have seen again how many

important aspects of life are
the same for everyone: being
together with family, friends,
entertaining, discovering,
creating, learning”
A mixed group of participants
- when the RWT started over in man, The Netherlands
September 2017, the directors
decided to form a mixed group “All differences between
of people. That means that they the group members were
chose for the meeting of refugees no obstacle. They all
and local people in the rehearsal disappeared. It was about
room. That made the rehearsals real contact, real stories
maybe more important than and genuine interest in
the final show. The encounter each other. Occasionally
during rehearsals was for both it was about war abuses,
groups an important experience. but mostly about universal
It gave all of them the possibility human feelings such as:
to share experiences and learn loss, fear, powerlessness,
from solutions other people desire, loneliness, anger,
found for common problems. Be why questions, craziness,
part of this ‘new mixed family’ happiness and feeling at
felt especially for the refugees home or not.”
an important step in a new
woman, The Netherlands
homeland.
“My attitude towards new
Dutch people has changed
by doing this.”

woman, The Netherlands

84
“Yesterday, the performance of figures from the dark
was so great! The subject and just telling your name
has fascinated me for a and your birthplace. I
long time. I thought that think you have found a
the documentary really nice balance between the
added something to the Dutch form and the foreign
whole. It has made me think form (as far as I know)
about how you can handle Just a very ordinary story
things that do not work. about how someone missed
That man just makes a their apartment in Syria ....
research project, and then a moved me emotionally ....
documentary! And then the Do you continue with this
performance itself! I thought performance, this group?
it was impressive, moving, You are a nice warm group
it had nice movements and of people together ... It
it was funny too. The most would be so pity if it does
impressive moment was not continue….”
for me the moment when
the lights turned on in the Audience reaction
dark, then the apparition

85
B
y coincidence in the group served as a ‘mother’ for the
we had people with a group. Her role was connecting
theatrical background. the participants and being an
It was not the main reason for educator in helping people to
them being part of the project, be part of this group. In terms of
but we learned that it helped group dynamics, a lot of things
with the work in the rehearsal happen in a mixed group like this.
room. We saw that playing Although there was a very active
together with trained people What’s App group a lot of things
helped participants to show were handled in the personal
more of themselves and their contact where our ‘liaison-
background. mother’ had an important
educational role.
The importance of a ‘connector’
- we were lucky to have one
member of our company who

86
 For that reason, the RWT planned
a new project with this REACT
group. A lot of material was
gathered from the interviews
director Esther de Bruijn had
with every participant, and only
a little bit of this material was
used in the presentation. The rest
of the material is the fundament
for a new production that will be
performed in December 2018 in
a site-specific production, that
will be presented throughout the
whole cultural center which is
the home base of the RWT. In 5
different locations in the cultural
center, small groups of audiences
will walk from one location to
the other. On each spot a short
theatre piece of 20 to 25 minutes
Suggestions for future will be performed. All five pieces
projects together form one performance.

T
he RWT felt extremely
happy to have the
experience and
opportunity to work with the
second group. For the company
it is important to keep this group
together. And the participants
expressed the importance of a
follow up for them.
 will be performed 5 times for an
audience of family, people living
in the neighborhood and people
living in the asylum center close
to the cultural center. Maximum
audience of 50 per evening,
The central theme of the period 7-14 December 2018.
performance will be “Home” or
“where is your home”. Because “I wanted to get to know
the production will be performed refugees. I soon noticed
around Christmas, themes like that they are all open and
this are very important. happy people who are not
In every location a small snack, depressed because they
related to the actors on that have a lot of issues but are
location, will be served to the enterprising and relaxed.
audience. Not only will the Everyone showed things
audience see and hear about that touched him or her,
another culture, but also get a because everyone was
taste of it. completely open, we shared
By working in smaller groups happy and sad things. This
(for each piece one specific was very special”
group) it is easier to plan
woman, the Netherlands
rehearsals (which is important
since the refugee participants
“I found it pleasant to
all have finished their language
come early and drink tea
classes and passed their exams
together. Everyone has
and are now free to find a job or
a busy life, but everyone
follow a new education). One a
needs a group where he can
week the whole group will come
be himself, where he can
together to work on a central
grow in the person he really
piece in order to keep the group
is. For example, Enayat is
together as a whole and keep that
someone who did not speak
‘family’ feeling. This new show
Dutch at all and now he is

88
 always asking, because he is
curious and wants to learn • should have a mixed gender
composition (boys/girls) to
the language and know mitigate certain difficulties
things.” (sometimes it is noted that there is
a strong hesitation to be “guided”
woman, The Netherlands by a woman – as it was in the case
of our workshop).

5.3 The experience of CSC Some economic incentive may

Danilo Dolci be considered, at least once the
group begins the rehearsals and
The theatrical workshops: prepare for the show. It is not a
sine qua non condition; however,
• should have a more diversified
group in order to avoid the
imbalance of nationality, age,
gender, etc. that could lead to the
risk of having coalitions formed.

• should be addressed to those who

really want to be part of the work,
making them understand the
importance of being part of a project.

89
 • A detailed training agreement
with the participants, with
conditions, understandings, and
implementation methods.

• Provide a “foreign” tutor that

would act as a “bridge” between
different languages, needs, and
misunderstandings.

such request emerged on the

Suggestions for future
occasion of a concurrent local
project in which the participants projects

T
were paid.
he main suggestions for
It might be useful to take future projects are the
some precautions in order to following:
guarantee a better maintenance
of the social context of the work 1. Among the suggestions,
done in the future, such as: the most requested is the
proposal for some economic
• Individual meeting between the incentives for participants. It
staff and participants. may be considered, at least
once the group begins the

90
 rehearsals and prepare for to transfer and to permit a
the show. It is not a “sine continuity of the participants
qua non condition”, however personal development also in the
such demand has emerged in different contexts which could be
the occasion of a concurrent proposed for other projects.
local project in which the
participants were instead By a participant
paid, creating the question
on this specific rewarding “It is incredible. Today,
aspect. when we started to play we
2. Community theatre, through were very sad and without
multiple exercises, is lived energies, now we are so
as a play and as a moment of happy and enthusiastic.
leisure, but it has some solid This theatre is really a
and rigid rules that need clinic!” Vikram, a Mauritian
to be respected. This is an boy after a play while he is
important concept to start going back home
from in order to think about
the possibility to propose “This is something that
similar kind of activities for pushes us to think but at the
other projects. same time to enjoy happy
moments...”
Once the theatre rules (for
example the respect of the Saibo a young boy from Senegal”
time, of discipline, the need
of concentration, the respect “Now I am a little bit famous;
of authorities, roles and people recognize me also in
colleagues, etc.) are assimilated, the street...”
it is progressively possible
another young guy who took part
to transfer these capacities to the performance
also in other contexts of the
social and professional life
of refugees, thinking about a
process of growth; or at least
6. Events

92
Events

D
uring the project 6.1 acta: REACT Sharing
implementation, events Event – Bristol
gathering stakeholders
and people working on the field ‘They are people, not refugees’
have been organized in order audience member, REACT
to activate relations and future Festival
collaborations on the same

T
topics of REACT. These events he REACT Sharing Event,
were central to the success of the or Festival, took place
projects aim of sharing learning, from 26-29th March
and are documented below. 2018, and was aimed at sharing

93
the learning from all three participants to Bristol, and at the
partners in how their projects end of their filmed presentation,
had engaged refugees and they involved the whole festival
encouraged integration with audience in a dance piece.
host communities. Each partner
made a presentation about the In addition to the presentations,
work they had developed and the four-day programme
delivered during the two-year included six theatre shows
project. created and performed by
refugee participants. As RWT
From the beginning of the project and CSC were unable to bring
the partners had been aware their performances, acta invited
that there might be difficulties UK community companies
in bringing performances from – Glasgow Citizens and CAN
Rotterdam and Palermo, as the Manchester – to bring work they
refugee performers might have had created with refugees. In
problems in obtaining visas. both instances, the companies
This possibility was outlined used the opportunity of the
in the original project plan, and invitation to develop new pieces
both RWT and CSC were aware of work to respond directly to
from the beginning that their the REACT themes of integration
contribution to the end event and improved understanding.
might be restricted to making a acta also presented their two
presentation about their work plays, Lost Sheep and Dream On.
with refugees, to include film of
the performances they had made.
It transpired that there were
the difficulties that the partners
had predicted, and it was not
possible for RWT and CSC to
perform at the Festival. However,
Rotterdams Wijktheater were
able to bring some of their refugee
 By Audience Reactions to the
performances were very
‘It was a heart-warming positive, with many
show. I am inspired to bring responses demonstrating
more people to your shows’ direct empathy to the
stories told.
audience member,
Lost Sheep
‘They are people, not
refugees’
‘It made me feel warm and
happy, so proud for the ‘I learned much more than
performers and entertained I ever knew about the
by their story. Glad we oppression of women in
could share it’ audience Iran, and how frustrating
member, Lost Sheep it must be to have to
‘We learned that problems/ negotiate the intricacies
relationships between of a new language and
people are so similar country’
regardless of the country
and setting they occur audience member, CAN
in. People are all flawed, performance
but hopefully and mostly
forgiving’ ‘This was fantastic! I really
want to know more about
audience member, Lost sheep
the stories behind the
shows!’

‘I learned how confusing

and disorientating it is to
arrive here as a refugee.
How when you arrive your
journey has only just begun’.

Audience member, Glasgow

Citizens
‘It made me laugh, it made
me think, it touched my
heart. Touched, frustrated
yet hopeful because they all
still had hope’

‘This was a very engaging,

energetic, insightful The workshops

I
and well-polished piece
that gave voice to the n the afternoons were practical
experiences of Iranian workshop opportunities to
women in a British explore the methodologies
context thus promoting of partner organisations acta
intercultural understanding and CSC, and invited guests:
between the two cultures’ Phosphoros Theatre, PAN
Intercultural Arts, Re-write
Dr Bec Fraser, University of and Giselle Vighter. The
Exeter (reflecting on ‘One More workshops gave practitioners,
Push’) participants and volunteers
the opportunity to ‘learn
Performances were through action’, experiencing
followed the day after the methodologies, exercises
with question and answer and approaches at first hand,
conversations with and giving time to discuss and
attendees and theatre- explore the artistic and social
makers from acta, Glasgow motivations behind the different
Citizens Theatre and CAN methodological approaches.
M a n c h e s te r.

96
A. acta (Bristol) and CSC
Danilo Dolci (Palermo) Making theatre with refugees
in Palermo, led by Martino Lo
An overview of how acta makes Cascio, who is a psychologist,
theatre with refugees, this psychotherapist, and author
workshop included theatre & director of award-winning
games & exercises; workshop short films, documentaries and
planning for specific participants theatrical works. He is founder
(gender, age, physical skills, and president of the Cultural
language); and an opportunity Association Nottedoro that has
to ask questions and consider organised the first international
why we use certain techniques. festival of lullabies and tries to
The workshop was led by Ingrid combine social work and artistic
Jones, acta Associate Director, and languages, producing numerous
Maya Khatun, acta Foundation. theatrical performances with

97
refugees and migrants. He is also B. Interactive workshop from
a founder member of the Onlus Pan Intercultural Arts.
“Narramondi” that deals with the
methodology of fiction in various Members of Pan’s artist team
contexts. introduced the work, its
structure, its challenges and
positive outcomes, and then
delivered a workshop in which
some of the drama exercises
which have proved useful were
experienced and explained. The
aim was to provide inspiration
both for theatre-makers
interested in adapting their
skills to use with refugee groups
The workshop focused on the and for youth workers/social
physical theatre techniques used workers interested in bringing
by Martino in his work with artistic work into their current
refugees on the REACT project in provision. The workshop was
Palermo. enjoyed and found useful by all
who attended.

98
Pan Intercultural Arts has Giselle Vegter explored social
been running arts for refugee roles; how do we perceive one
projects for 16 years. Its six another and how can we relate
projects in London, Oxford and this to ourselves? How do our
Kent, range from groups for different social and cultural
Unaccompanied Minor Asylum roles contribute to the creative
Seekers, Victims of Torture to encounter? She used a range of
Survivors of Trafficking. These drama therapy and forum theatre
programmes use theatre and techniques; a very different
other performance skills to approach to others included in
help participants, many with the Festival, which challenged
symptoms of Post-Traumatic participants.
Stress Disorder, regain
confidence, reconnect with their Giselle Vighter is a Dutch theatre-
creativity and start to lead a full director and dramatherapist,
life in their new country. When working with refugees and
ready, participants work towards homeless people in Rotterdam.
sharings and performances, first She applies elements of Boals’
for friends and careers and often Theatre of the Oppressed
for the general public where the and Dramatherapy to deliver
sense of ownership and “giving workshops, performances and
something back” is of huge installations on issues of identity,
importance. conflict and humanity.
[Link]
C. Giselle Vegter: A
therapeutic approach D. Rewrite; English as a
Second Language and
The workshop was introduced making theatre
by acta “warm up games” led
by Rosalie Pordes, acta Projects Farha Bi, Project Coordinator
Director and Sara Snook, acta with Rewrite, led a practical
Foundation. session which outlined the
games and exercises used by

99
the company in their approach play. The workshop was led by
to make theatre with young three performers, including two
refugees. She explained and refugees, and began by posing
demonstrated the ESOL creative questions about certain facts
methodology. related to asylum and refugees.
This exercise uncovered a high
‘I really enjoyed learning their level of misinformation about
method of how they use drama refugees and asylum seekers
to improve English. The physical
games were very competitive and amongst the participants, with
fun whilst it teaches participants many surprised that the top
numbers and to be alert. The 5 countries hosting refugees
concentration game with the were Turkey, Pakistan, Lebanon,
fingers was bringing the group Jordan, Iran. Through a series of
together. The circle game using
the emotions was a fantastic way theatre exercises and games, the
to encourage classes to express facilitators were able to challenge
their feelings using the different preconceptions, and disseminate
emotions. They finished off with knowledge.
a still image of emotions. And
asked the participants what they
enjoyed. Then made a butterfly Conversations
with their hands and said let it

T
fly away till next session. Loved wo seminars took place,
the session so much.’ where 40 attendees
Maya Khatun, were engaged in deep
acta Foundation Worker discussion about key issues in
making theatre with refugees.
E. Phosphoros Theatre The conversations were chaired
by acta’s Artistic Director, Neil
Following their performance, Beddow, who asked participants
Phosphorus Theatre led an to share their own experiences
interactive workshop with and expertise of working with
audience members, woven refugees to answer the questions
around a discussion about the of how we engage with refugees,
and why do we, as practitioners,

100
work with refugees, and examples from acta, Collective
what does this work do for Encounters and Rewrite, as
refugee participants and host to how people engaged with
communities. projects in order to improve their
English, with theatre creation
The first conversation workshop almost a by-product of that
focused on ‘Engagement’; how it initial aim. Rewrite in particular
is possible to contact and involve demonstrated their focus on
refugees in theatre projects. creative language learning as an
presentations, including short engagement strategy with young
films, were given by Re-write, refugees through schools.
Historieberatta from Sweden,
Catrin Evans (University of
Glasgow), PAN Intercultural Arts.
Other contributors included
international practitioners and
theatre companies, students and
participants. The conversation
created a space to share learning
and explore the different
methodologies for engagement,
opening out the learning from
REACT in the wider context of The conversation raised
refugee arts, not just drama issues around the labels
and theatre, but creative and terminology used when
writing (Re-write), animation discussing refugees, with many
(Historieberatta) and visual art
presents wishing to move away
(Catrin Evans). from using ‘refugee’ and ‘asylum-
seeker’ as they had developed
The use of drama and theatre negative connotations. Other
in language development as a suggestions were put forward,
starting point for engagement around the theme that if there is
was discussed in full, with a ‘host’ community then surely

101
the new arrivals should be seen
as ‘guests’.

‘Overall, this was an incredibly

rich discussion, the students
who looked on shared
afterwards the value of this in
challenging their own process
as they come to engage with the
industry. It positioned acta in
relation to its partners and the The second conversation
wider landscape of community explored the motivations and
projects both in the UK and EU. reasons why companies make
It effectively cultivated space theatre with refugees, chaired
for the sharing of practice and
opportunities to see similarities
by Neil Beddow with short
and differences in the challenges presentations throughout by
and models employed. the three REACT partners, with
Facilitators appeared to be both Amuni Theatre (Palermo),
learning from one another and Phosphorus Theatre. There were
offering professional input and
advice, as well as giving a shared
contributions from participants
sense that they are not in it as well as practitioners, and the
alone.’ discussion explored the artistic
content and theatrical style of
Dr Bec Fraser, refugee theatre; the cultural
University of Exeter.
barriers to engagement; issues
of ownership and power, and
how to strike a balance between
shaping work and enabling
natural voice.

There was general agreement

among those present that it was
essential to ensure ownership
and total involvement of
participants in the process of

102
story development and theatre
creation.
view of them. This lead to another
‘One of the main discussions was
relevant subject, which is that
around story-telling, and the
artists find themselves indirectly
ethics of encouraging refugee
pressured into focusing on stories
participants to share stories of
about being a refugee in order to
their traumas of fleeing home,
get funding to work with refugees.
the journey to Europe, and
This claim, however, was refuted
then life in Europe, and then
by others in the conversation who
using these stories of trauma in
pointed out how this is most likely
performance. The two opinions
a limited way of interpreting what
offered in this subject were that
it means to work with refugees, as
on one hand sharing trauma
this, on its face value, only means
offers a platform for participants
engaging refugee participants,
to share stories that they want
and does not dictate the subject of
to shed light, whereas on the
what this collaboration is going
other hand the focus on the
to be about’.
victimhood of refugees, although
well-intentioned, confirms
Dr Aqeel Abdulla,
stereotypical views of refugees
acta Foundation and University
and adds to the one-dimensional
of Exeter.

103
Overall, the two conversations • Impact – how do you measure
were remarkable for the the individual and social impact of
work?
degree of honesty among the
contributors; everyone felt • Terminology – what are the
that it was a safe space, and words we are using, and what
were open in discussing their weight/stigma do they carry?
challenges, problems and Is there a new vocabulary we
must determine in order to avoid
failures when seeking to engage stereotyping?
and secure commitment from
the ‘new arrivals’ in their own
communities.
Music and networking

E
ach day ended with
Key Issues and points raised
informal conversations
during conversations:
and networking in the acta
• Engagement – the importance theatre bar. Attendees reported
of identifying the ‘right time’ for how these opportunities to
refugees/migrants to meet informally and share
become involved; the right time for conversations were an important
a project to be instigated.
part of the REACT sharing event,
• Motivation - what are the providing opportunities for
motivations for theatre-makers in reflection and observations on
wanting to engage with what they had seen that day, to
refugees? How should these be share information about their
judged? Why are refugee and host
own projects and approaches,
participants motivated to engage -
before and while they are engaging and to develop ideas for future
in creating theatre. projects. The evening sessions
were augmented with music
• Ownership - how do you ensure from refugee musicians, on
the joint ownership of the work
Monday and Tuesday evening,
created? Is that essential? Who
determines the story and how it is and a rock band provided a party
told? atmosphere on the final evening,
with refugee participants,
partner staff, volunteers,

104
audience members and host and and forms. The richness of this
refugee communities dancing community of learning ensured
and celebrating together. that many key issues were raised
and discussed, and the event
The final presentation from CSC was particularly remarked upon
took place on Thursday 29th by attendees for the frankness
March, and the Festival ended of discussion and the culture of
with African music and dancing honesty which was prevalent
from Tribe of Doris, Bristol- throughout the four days.
based Intercultural Arts.
Those present also commented
extensively on the friendliness
and approachability of the acta
staff and volunteer team, and the
warmth of the welcome that was
extended, and how this created
a positive climate which put
attendees at ease and facilitated
the depth of exploration and
discussion.

What we learned from In the final analysis, the partners

REACT Festival felt that the event was very well-
attended and well-received,

T
he REACT sharing attracting a wide range of people
event was developed
successfully into a Festival-
style occasion, presenting a
unique opportunity to gather
in one place an interesting and
experienced group of attendees
involved in artistic work with
refugees in different contexts

105
from across UK and Europe to your invitation to take part and
share the learning from the two- the group came away feeling
very positive from the festival
year REACT project, giving the experience – we had such a good
opportunity to view other theatre time with you in Bristol.
made in UK with refugees, take Thank you for your generosity,
part in practical workshops and the organisation, the technical
conversations, and become more support, the food, the
entertainment the great chat and
aware of some of the key issues of course your company’
when approaching the work.
Elly Goodman,
‘Well Done! … As well as helping Glasgow Citizens Theatre.
bring the refugee theatre
community together and
consolidating practice, it really
helped to hear others’ views and
experiences on some key issues,
challenges and successes’

John Martin, Artistic Director

PAN Intercultural Arts.

‘THANK YOU SO much for

everything! It was great, and I
am very impressed by your work.
Thanks for the plays, dance and
interesting discussions’

Anusha Caroline Andersson,

Historieberättarna

‘Thank you for a brilliant festival.

It was so well put together, we
were very impressed with how
slickly operated the whole event
was. The Festival was packed
with fascinating and inspiring
projects/performances and
discussions. We so appreciated

106
Attendees

The event was attended by 160

people:

25 REACT partner staff (acta,

RWT, CSC), 60 additional
practitioners/academics,
including 24 REACT invited Partners invited to attend
guests; 16 students; 50 refugees;
20 volunteers; 30 refugee
REACT Festival:
p e r fo r m e r s . • Glasgow Citizens Theatre, Scotland
UK;
In addition to this 160, a • CAN Manchester
further 50 people attended • Phosphoros Theatre, London
for the Phosphoros Theatre • Rewrite, London
• PAN Intercultural Arts, London
performance and workshop. Of • Catrin Evans, University of Glasgow
these, 30 were refugees living in • Anusha Caroline Andersson,
Bristol; 8 were practitioners from Historieberättarna, Stockholm
refugee support organisations; • Giselle Vegter, theatre of the
12 were students / academics. oppressed
• Josje Priester, cultural
anthropoligist and artist.
• Martino Lo Cascio, theatre maker
• Silvana Oliveri, theatre maker
• Chiara Buttitta and Miriam
Tazeghdanti: Amunì Theatre,
Palermo

There were also representatives

from a range of UK and
European theatre organisations,
Arts Council England, Paul
Hamlyn Foundation, academics,
students, local participants and
volunteers.
Performances 6.2 International
Community Arts Festival
Dream On
acta community theatre (ICAF) - Netherlands
Miriam’s dream is to go to university,
but there are many obstacles in her Every three years a temporary,
way. Will she be able to overcome these creative world emerges in
barriers to make her dream a reality? Rotterdam where one can
Lost Sheep discover unique community-
acta community theatre based art projects and meet its
Sheep escaping in a small Sudanese engaged artists who make it their
village leads to all sorts of problems. daily job to bridge the distance
between worlds and people from
Dear Home Office: Still Pending
Phosphoros Theatre all walks of life. At the end of
Phosphoros Theatre’s second play is March in 2017 and again in 2020,
performed by eight refugee young men, theatre, dance, music, film and
telling versions of their own stories of visual arts projects from literally
living in the UK. every continent on earth will dock
One More Push in the port of Rotterdam during
Fereshteh Mozaffari, CAN Manchester the International Community
Solo performance, a reflection on life in Arts Festival (ICAF). A festival
exile and the metamorphosis to a new builds around the idea that
being. community art is a worldwide
Dancing the Lash cutting edge and highly relevant
Mahboobeh Rajabi, CAN Manchester arts movement, it is the only one
A poignant depiction of a dancer- of its kind.
turned-refugee whose profession is
banned in her native Iran. ICAF is a unique festival
“Where are you really from?” experience: from large-scale
Glasgow Citizens Theatre performances to intimate film
Celebrating the rich and diverse life screenings and meetings with
stories of asylum seekers and refugees extraordinary artists and their
living in Glasgow; exploring the participants. The day program of
movement of people, identity and their
hopes and dreams. the festival offers the possibility

108
 The aim of the seminars was to
give a status update of the work in
progress of the REACT partners.
The seminars started with a short
presentation of a group of three
Syrian boys. These boys were
what was left of the group the
RWT started with in the asylum
seekers centre in Beverwaard,
of in-depth conversations, Rotterdam. It was a presentation
inspiration and exchange. The with sensory aspects of Syria,
evenings are chock-full with their flight and their reception in
live theater, dance, film and The Netherlands. Although it was
music performances. Morning, a short presentation, the impact
afternoon, or evening; Rotterdam on the audience was great.
opens its doors for five days of After that the partners told
participatory art from all over about their part of the project
the world. and where they were in the
process. The discussion focused
During the 7th edition of on individual experiences people
the ICAF, a morning seminar had with refugees and questions
about the REACT project was were asked about problems in
planned, hosted by the partners group dynamics and getting
of the REACT project. Due to commitment for a project.
the overwhelming number of
registrations for this seminar, The universal connection music
the ICAF organisations asked the can make was experienced at the
REACT partners to give a second end of the seminar where people
seminar. Overall both seminars were invited on the stage to
were attended by 130 visitors of dance all together with the three
the ICAF. Syrian actors in the lead.

109
6.3 CSC: Seminar in
Palermo
REACT (through the sharing

O
n the context of the 3rd of Martino Lo Cascio, CSC’s
partner meeting of REACT Artistic Director), as well as
there was the occasion for their own project initiatives
institutions working in the field (for example project
to share good practices in: AMUN�); and

1. how to best utilize 2. how to successfully involve

Community Theatre as a refugees and tackle relevant
vehicle of social inclusion, problems.
specifically in relation to
The seminar has been a
successful event which has
created crucial synergies both at
local and European level on the
artistic and inclusion field.
Conclusion

111
Conclusion

T
his publication is aimed at ultimately, what can we do
sharing the work that the together to improve the current
three partners undertook climate of misunderstanding,
over the period September 2016 prejudice and fear.
to July 2018, with the hope
that other organisations and It is interesting, though probably
practitioners will be inspired not surprising, that many
to develop similar work in the questions have arisen from the
future. During this time, the project, and that each partner
three partners were engaged has continually questioned
in exploring how community their process. RWT developed
theatre could be used in our three questions, which are a
different national contexts to good starting point for anyone
improve integration between seeking to develop this work in
refugees and their host the future:
communities. The project was
enriched by the involvement 1. What is best moment for refugees
of many people – refugees, to participate in a community
theatre project?
practitioners, community
members, workers in refugee 2. What story will be told, who to,
organisations. The project and what is the relevance?
benefited from the shared
learning, experience and 3. In what theatrical tradition and or
format the performance should be
wisdom of everyone involved,
made?
and the discussions and debates
around key issues: ownership,
Through the project, with the
motivation, the meaning of
three partners, and also with
‘integration’, and who needs
the extended partnership of
to integrate with who, and
performers, practitioners and

112
companies, we have determined across Europe; populist parties
that the real issues in this work with anti-immigration views are
are those of ‘ownership’ and growing in influence; migrants
‘equality’; ensuring that the lose their lives at sea every day,
principle of ‘nothing about us, and those that are rescued are
without us’ applies throughout turned away from previously
all that is undertaken. It is not safe havens. But governments
up to artists and theatre-makers and parties are elected by the
to decide what aspect of the people, the communities with
refugee story needs to be told; whom we work; that is where
each person needs to decide for the change must come, in the
themselves. The REACT project hearts and minds of the people
has seen plays created on a wide who elect the governments. If the
range of subjects, telling many REACT initiative can change just
stories; sadness and longing for a few of those hearts, make some
homeland, hope and aspirations of those minds think differently,
for a new life, frustrations at then the work must continue,
barriers created by governments and continue to grow. Already
to prevent that new life. However, the partners are formulating new
they are stories predominantly projects to continue the work,
not about the trauma, but about and more partners have been
home, arrival in a new place contacted, involved, inspired to
and dreams for future. Not what use their creativity and common
happened but will happen next. humanity to begin to make these
changes.
Certainly, for acta, the work
of REACT is not done, but When the world is not how we
just beginning; in July 2018, wish it to be, we must REACT!
as we write this account,
the situation for refugees is Neil Beddow – Project
arguably worsening, rather than Coordinator
improving; government attitudes
and policies are hardening

113
Photo Credits
Chapter 1 – Why REACT?

Page 6 – Lo Pizzo, Marianna. Performance “Un intervallo

(nell’immensità)” – Italy
Page 8 – MEDART Project (2015 – 2017).

Chapter 2 – REACT’s Partners

Page 11 - Deenik, Kees. Performance “Kom Terug”. Rotterdams

Wijktheater – The Netherlands

Chapter 3 - Refugees’ national situation: a short overview

Page 23 – Deenik, Kees. Performance “Kom Terug”. Rotterdams

Wijktheater – The Netherlands

Chapter 4 - REACT – Methodologies and models to integrate

refugees through Theatre

Page 32 - Lo Pizzo, Marianna. Performance “Un intervallo

(nell’immensità)” – Italy
Page 33, 34 – Simmons, Mark. On the left: Performance “It’s my life”.
On the right: Performance ”Lost Sheep”. acta community theatre.
United Kingdom
Page 35, 36 - Simmons, Mark. Performance ”Lost Sheep”. acta
Community Theatre Ltd. United Kingdom
Page 37, 38, 39 - Simmons, Mark. Performance ”It’s my life”. acta
Community Theatre Ltd. United Kingdom

114
Page 41 - Simmons, Mark. Performance ”Lost Sheep”. acta Community
Theatre Ltd. United Kingdom
Page 47, 49, 50, 58 - Deenik, Kees. Performance “Kom Terug”.
Rotterdams Wijktheater – The Netherlands
Page 59 - Deenik, Kees. On the top: Rehearsal first project. On the
bottom: Performance “Kom Terug”. Rotterdams Wijktheater – The
Netherlands
Page 60 - Deenik, Kees. Rehearsal first project. Rotterdams
Wijktheater – The Netherlands
Page 62, 63, 64 - Deenik, Kees. Performance “Kom Terug”. Rotterdams
Wijktheater – The Netherlands
Page 67, 68, 69, 70, 71, 72, 75, 77, 78 – CSC Danilo Dolci. Rehearsal
Theatre Workshop

Chapter 5 - What did we learn?

Page 79 - Deenik, Kees. Performance “Kom Terug”. Rotterdams

Wijktheater – The Netherlands
Page 82, 83 - Deenik, Kees. Rehearsal “Kom Terug”. Rotterdams
Wijktheater – The Netherlands
Page 84, 85, 86 - Deenik, Kees. Performance “Kom Terug”. Rotterdams
Wijktheater – The Netherlands
Page 87 - Deenik, Kees. On the top: Presentation of the first project. On
the bottom: Performance “Kom Terug”. Rotterdams Wijktheater – The
Netherlands
Page 88 - Deenik, Kees. Rehearsal first project. Rotterdams
Wijktheater – The Netherlands
Page 89, 90, 91 - Lo Pizzo, Marianna. Performance “Un intervallo
(nell’immensità)” – Italy

115
Chapter 6 -Events

Page 92 - Simmons, Mark. REACT Festival ‘Theatre Made by Refugees’.

acta Community Theatre Ltd. United Kingdom
Page 93 – Simmons, Mark. REACT Festival seminar. acta Community
Theatre Ltd. United Kingdom
Page 94 – Simmons, Mark. REACT Festival, Tribe of Doris. acta
Community Theatre Ltd. United Kingdom
Page 95 – Simmons, Mark. REACT Festival ‘Theatre Made by Refugees’.
acta Community Theatre Ltd. United Kingdom
Page 96 – Simmons, Mark. REACT Festival, RWT presentation. acta
Community Theatre Ltd. United Kingdom
Page 97, 98 – Simmons, Mark. REACT Festival, CSC workshop. acta
Community Theatre Ltd. United Kingdom
Page 101 – Simmons, Mark. REACT Festival ‘Theatre Made by
Refugees’. acta Community Theatre Ltd. United Kingdom
Page 102 – Simmons, Mark. REACT Festival, Glasgow Citizens Q&A.
acta Community Theatre Ltd. United Kingdom
Page 103 – Simmons, Mark. REACT Festival, CSC Presentation. acta
Community Theatre Ltd. United Kingdom
Page 105 - Simmons, Mark. REACT Festival ‘Theatre Made by
Refugees’. acta Community Theatre Ltd. United Kingdom
Page 106 - Simmons, Mark. REACT Festival, Dancing the Lash, CAN
Manchester. acta Community Theatre Ltd. United Kingdom
Page 107 – Simmons, Mark. On the top: REACT Festival, RWT
Presentation. On the bottom: REACT Festival, Dancing the Lash, CAN
Manchester.
Page 109 - Rotterdams Wijktheater, ICAF. The Netherlands.
Page 110 – CSC Danilo Dolci. Seminar in Palermo, 2017
Page 111 - Deenik, Kees. Presentation first project/ICAF. Rotterdams
Wijktheater – The Netherlands

116
 Partnership
acta Community Theatre ltd, UK (Coordinator)
Contact: Neil Beddow
neil@[Link]

[Link]

Stichting Rotterdams Wijktheater, The Netherlands

Contact: Heleen Hameete
heleen@[Link]

[Link]

CENTRO SVILUPPO
Centro Per Lo Sviluppo Creativo “Danilo Dolci”, Italy
CREATIVO Contact: Alberto Biondo
DANILO DOLCI [Link]@[Link]

[Link]

[Link]

Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)

The European Commission support for the production of this publication does not constitute an endorsement of the contents
which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made
of the information contained therein.