Relevant bibliographies by topics / Drama – Therapeutic use – Africa

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Academic literature on the topic 'Drama – Therapeutic use – Africa'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Drama – Therapeutic use – Africa"

1

Khoo, Guan Soon, and Mary Beth Oliver. "The therapeutic effects of narrative cinema through clarification." Aesthetic Engagement During Moments of Suffering 3, no. 2 (2013): 266–93. http://dx.doi.org/10.1075/ssol.3.2.06kho.

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Media psychologists have found no empirical support for catharsis as emotional venting or purgation. However, the concept persists in the humanities and everyday use, particularly in beliefs about the presumed effects of catharsis on well-being. This study adjusts the conceptualization of catharsis to include a cognitive aspect, i.e., the clarification of emotion, and examines the health outcomes of the combination of exposure to drama and drama-induced self-reflection. An experiment (N = 152) was conducted to compare the therapeutic effects of cinematic and reading-based dramas. In a mediation analysis, improvements in general health and lowered levels of depression were found for cinematic drama exposure with self-reflection, compared to reading-based drama exposure with self-reflection; this relationship was mediated by identification and emotional self-efficacy. Our results provide preliminary evidence for the therapeutic benefits of cinematic human drama through an altered conception of catharsis. Implications for using media to facilitate emotional fitness and meaningful entertainment are discussed.
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Atsmon, Amir, and Susana Pendzik. "The clinical use of digital resources in drama therapy: An exploratory study of well-established practitioners." Drama Therapy Review 6, no. 1 (2020): 7–26. http://dx.doi.org/10.1386/dtr_00013_1.

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This exploratory study examines the clinical use of digital resources in contemporary drama therapy by interviewing seven leading practitioners from around the world. The study surveys the digital resources utilized by both therapists and clients; how these resources are used; and how such use relates to drama therapeutic goals, values and techniques. Most notably, interviewees mentioned using Skype for therapy and/or supervision; the use of smartphones to cross the boundaries of the session (introduce or send out material); and the gaze of the camera as a fantasized audience. Interviewees commented on the therapeutic, dramatic, relational and ethical significance and impact of these practices, as well as on the ongoing digitization of society at large and its effects on their practice. The article further delineates the challenges evident in their experiences and proposes theoretical directions for further exploration.
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3

Harvey, Brian, James Stuart, and Tony Swan. "Evaluation of a Drama-in-Education Programme to Increase AIDS Awareness in South African High Schools: A Randomized Community Intervention Trial." International Journal of STD & AIDS 11, no. 2 (2000): 105–11. http://dx.doi.org/10.1177/095646240001100207.

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A community intervention trial was undertaken in KwaZulu Natal, South Africa to evaluate the effectiveness of a high school drama-in-education programme. Seven pairs of secondary schools were randomized to receive either written information about HIV/AIDS or the drama programme. Questionnaire surveys of knowledge, attitude and behaviour were compared before and 6 months after the interventions. One thousand and eighty students participated in the first survey and 699 in the second. Improvements in knowledge ( P=0.0002) and attitudes ( P<0.00001) about HIV/AIDS were demonstrated in pupils at schools receiving the drama programme when compared to pupils receiving written information alone. These changes were independent of age, gender, school or previous sexual experience. In schools receiving the drama programme, sexually active pupils reported an increase in condom use ( P<0.01). It is important to provide resources to sustain such programmes and to obtain stronger evidence of effect on behaviour by measuring changes in HIV incidence.
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PENTECOST, MICHELLE, and THOMAS COUSINS. "The temporary as the future: Ready-to-use therapeutic food and nutraceuticals in South Africa." Anthropology Today 34, no. 4 (2018): 9–13. http://dx.doi.org/10.1111/1467-8322.12447.

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5

Hercigonja Salamoni, Darija, and Ana Rendulić. "Drama techniques as part of cluttering therapy according to the verbotonal method." Logopedija 7, no. 1 (2017): 24–29. http://dx.doi.org/10.31299/log.7.1.4.

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Cluttering is a syndrome characterised by a wide range of symptoms. It always contains one or more key elements such as abnormally fast speech rate, greater than expected number of disfluencies, reduced intelligibility due to over-coarticulation and indistinct articulation, inappropriate brakes in speech pattern, monotone speech, disturbance in language planning, etc. Drama activities and storytelling share a number of features that allow spontaneous use during therapy process and detachment from real-time, concrete place or true identity, and therefore allow unprecedented freedom in choosing and creating speech-language expressions. The use of drama elements and techniques in cluttering therapy enables better focusing of the child during therapeutic process and better integration of acquired speech/language skills and knowledge. During therapy, we should be aware to correct the patient both in speech production and in the perception of his/her own speech. From the aspect of speech pathology, it is important how auditory and visual information during patient’s production influence on his/her overall perception of his/her own speech. For all those reasons, it is especially important to choose the appropriate story or event and to present it in a way that ensures good interaction during therapy. The presentation of dramatisation is the ideal tool for stimulation and development of different speech activities, with focus on fluency, correct articulation and other elements that make up values of spoken language. Drama techniques can be implemented trough drama activities or storytelling. When working with children, storytelling and drama techniques can be integrated and combined in multiple ways in order to provide robust and flexible transition toward a structured language.
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6

Kruger, Marie. "The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali." New Theatre Quarterly 25, no. 3 (2009): 233–40. http://dx.doi.org/10.1017/s0266464x09000414.

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The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through which relationships and values are symbolized, objectified, and embodied in a highly artistic way. Marie Kruger is an associate professor and the Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance and research option. Her research is focused on masquerades in Africa and the various contemporary applications of puppetry in sub-Saharan Africa.
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7

Price, Neroli, and Laura Garbes. "Radio drama as a tool for activism in South Africa: The case of Plague in the Time of King Kapital and Queen Corona." Radio Journal:International Studies in Broadcast & Audio Media 19, no. 1 (2021): 59–77. http://dx.doi.org/10.1386/rjao_00034_1.

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How can sound be utilized as a tool for political conscientization? COVID-19 has disrupted face-to-face organizing tactics for progressive movements globally, making it necessary to branch out to more mediated forms of grassroots political organizing. In this article, we explore how sound might be employed to invoke an imagined working-class community across ethnic, gender and generational divides against a backdrop of crisis and corruption on the structural level. Through a close listening of a South African radio drama, Plague in the Time of King Kapital and Queen Corona (KKQC), we find that the use of sound enables a worldmaking that is both attuned to structural inequities and imagines a utopian, solidaristic working-class community. KKQC offers a case of worldbuilding and political conscientization through radio drama that is relevant to understanding the possibilities of the genre in the contemporary South African context.
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8

Hougham, Richard. "Track the Deer, Catch it and Then Let it Go." Dramatherapy 27, no. 3 (2005): 8–14. http://dx.doi.org/10.1080/02630672.2005.9689663.

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The following paper is based on research into a dramatic model of group supervision that was also informed by ideas from Jungian psychology. Postgraduate dramatherapy students were given the opportunity to reflect, embody and dramatise what they considered to be ‘significant moments’ from their placement practice over a period of ten weeks. A semi-structured interview was then carried out with each of the nine participants. Analysis of their responses identified two emerging themes −1) a diversity of perspectives on the same session, where students who participated in the same work had different experiences and 2) working with the drama and the body in supervision offered the chance to reconnect with and investigate body-based experiences from practice. Through continuing to use the art form of drama in supervision (in particular role-playing the client), it seemed that qualities and nuances of the session and the therapeutic relationship could be explored. In particular, some of the unconscious communication between therapist and client seemed to be exposed through working with the body and drama.
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9

Williams, Britton. "The R-RAP revisited: Current conceptualizations and applications." Drama Therapy Review 6, no. 2 (2020): 183–201. http://dx.doi.org/10.1386/dtr_00027_1.

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Existing research finds that how the client feels towards the therapist and the therapist towards the client will have a direct impact on the therapeutic relationship. Yet little has been written about how to understand and process the therapist‐client relationship in drama therapy. Therefore, the purpose of this article is to illustrate how a relational perspective and use of the Relational-Roles Assessment Protocol (R-RAP) may be implemented in the therapist’s embodied supervision and collaborative therapeutic processes. This article extends the existing R-RAP by providing how-to steps and case illustrations for applying the R-RAP to supervisory settings and in collaboration with clients. The article ends with emergent ideas and considerations for future applications.
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10

Nwoye, Augustine. "Family Therapy and the Pedagogy of the Oppressed: Therapeutic Use of Songs in Apartheid South Africa." Australian and New Zealand Journal of Family Therapy 39, no. 2 (2018): 200–217. http://dx.doi.org/10.1002/anzf.1297.

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