FOLLOWING theR.A.C.E., C&G Collective projects include:
Creative placemaking projects with municipal partners, using an approach in which art plays an intentional and integrated role in place-based community planning and development with Public and Private Partnerships
Arts-in-Education Process Dramas in partnership with local elementary, middle, and high schools
Values crystallization, leadership skills, professional development
Community building and civic action around the increased effect of A.I. on manufacturing jobs
New to the U.S.: Refugees and Immigrant improvisation, language, and community cooperation skills.
Outdoor education/programming for wilderness survival led by indigenous biologists and leaders
Virtual Reality + Traditional Storytelling: immersive and experiential design
Legislative theatre (Augusto Boal) + Climate change storytelling development corps
On Hold: Bosnian Women’s Project in partnership with Medica Zenica
It is no secret that during the Bosnian war, a deadly arsenal of weapons was used to inflict pain, to kill, to cleanse, to win: machine guns, pistols, tanks, camps, forcible transfer, deportation, murder. One weapon of war is unlike any other in its lasting effects: sexual violence. It is estimated that between 20.000 and 50.000 women were raped and assaulted during the war. Some were left to die. Some gave birth in detention centers and fled, never to return. Of the survivors who remain, many feel that their country and local communities have abandoned, forgotten, or silenced them with shame. For example, the majority of affected women do not receive available governmental support because they feel they would be ostracized if people discovered them to be victims of sexual violence.
This project is defined by a multi-pronged approach to three distinct and intertwined sub-projects:
Storytelling and drama as creative placemaking in public spaces and media;
Theatre for Development (TfD) as healing in private spheres with those who have experienced sexual violence as a result of the Bosnian War; and
Theatre-in-education for young people, exploring contemporary gender roles, sexual behaviors, attitudes, with a possible tour to educational settings across the country.
Why? Drama is a proven tool for transformation, reconciliation, self-awareness, actualization, and determination. Specifically, the growing field of Theatre for Development (TfD) employs and evaluates theatre as a participatory tool for engaging community members in dialogue on civic participation and responsibilities, identifying and analyzing community needs, and planning collective actions. As a methodology, it has also been adopted by communities who are themselves enabled to address issues of self-development through participation in a theatre process, thereby counteracting the ‘expert syndrome’ which so often de-activates or de-centers local wisdom. TfD practitioners provide the space and support for those closest to the problem to be closest to the solution.
Renowned scholar/practitioner James Thompson, Professor of Applied and Social Theatre and founder of “In Place of War” – a project researching and supporting arts programmes in war and disaster zones – elaborates that this work: “exists in correctional settings, in secondary schools, primary schools, in rural villages, on campuses and in theatres…with and by individuals who have suffered from traumatic experiences—whether the xenophobic violence in South Africa, or abuse in New Zealand—with female prisoners debating issues of sexuality; with villagers coping with environmental degradation; with school pupils struggling with notions of difference, or the impact of war on individual lives; with primary-aged children finding a voice to tell stories and therapists and clients discovering new ways of representing the narratives of their collective encounters.”