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Jen Kristel Report on Training Sessions:   March 2008 
Brief Report of the National Therapeutic Theatre Institute Workshops 2008
Bangladesh Therapeutic Theatre Institute (An arm of the Unite For Social Action) 
Lead Trainer Jen Kristel, M.A. CET CPT
March 1-13, 2008
4 trainings relating to the users of Art Therapy and Playback Theatre
 		  
1. Participants. How many, who are they? Was there consistent attendance?

In all the trainings there were a consistent core group of people. There were times especially in the Chittagong training and the DU training in which people came late and left early, or had to work a day. This raised conversations of group process and consistency with in the group. Average size of the group ranged from 18-25 participants.

BTTI/UTSA training in Chittagong, there was 24 participants. Mainly connected to UTSA, there were 2 who were from ASK, 2 from Jahangirnagar University, 1 person , bank worker.
ADD 22 participants. 3 from UTSA, 2 people from outside organizations, 2 staff people of ADD and 15 participants who are part of the a theatre group.
JU. 18 participants. 3 from UTSA 2 faculty, and 12 drama students.
Dhaka University 24 participants for day 1 (art therapy) and 19 participants for days 2 and 3 (Playback Theatre)2 are on the staff as faculty in the clinical psychology program, 3 staff from UTSA, 2 clinical psychologists, and 12 students.

The trainings tended to happen during work days, participants often felt pressure. It is definitely a choice to come to these trainings, and takes great care in preparing for them as a participant in order to make room for it in their schedules.
 
2. Content. What did you teach? Playback Theatre was the main modality being taught. Art Therapy was taught formally for one day at DU and integrated in the ADD training. The Playback trainings included the use of Sociometry, spontaneity exercises, theatre games, children’s games, storytelling and related activities, Playback Theatre and Improvisational theatre activities, Doubling, role reversal and sharing.

3. Length. How long was the training? The Chittagong training was 4 days long, The ADD training and the DU training was 3 days long and the training at Jahangirnagar University was 1 day long.

4. Staff. Who were the teachers? Jen Kristel the lead trainer for all trainings. I had very good interpreters, especially in the last three trainings. The interpreter at the first training understands English, but the terminology of Playback was new for him and so 2 other advanced students often supported him. Munna and Saba, the main interpreter for the other trainings, in some ways, became my “double” as they listened to conversations to make sure they were on track, and in would “ghost” conduct since she translated for me. Alam, Reza, and Munna also supported me as assistants by interpreting, listening and leading small groups. As well, I had them conduct different parts of the training in Bangla.

5. Teaching conditions. Was there an adequately private space? Was it
comfortable enough? For the most part spaces were private – the space at ADD was very open, but there were few people who walked through, so it was not too much of a bother to us. The workers there watched us as well as cooked food for the group. Given the relationship between people, this too was decided not a problem in terms of confidentiality. Most places had A/C but was so loud, we often didn’t use, so sometimes a space became very warm. The space at ADF was too small for the number of people in the training. It made for difficultly in doing some of the exercises, and some I did not attempt. Unless we know the training will be under 15 people, I would not suggest that we use this space.

6. Cultural factors. What were some of the cultural factors that affected
both teaching and learning?

In the ADD training, the workshop was geared toward women. However, there were many men in the workshop so it was changed to reflect that there were men in the group who could benefit .Sometimes I find that I am unsure of what is over the bounds for various groups. I am in constant conversation with people about the best way to approach an exercise. Sometimes, it is fine to challenge and push a boundary- At other times it really is not. Since Playback is such a physical theatre, I am often trying to help adapt so that people are comfortable in doing it. At other times, people seem very comfortable in the physicality and then I find out later that an exercise (such as clay) wasn’t, due to the touching between people. What I do find is that people are very close with each other on lots of levels. There is a sense of community there that I find very heartening. There are also strict guidelines for how men and women are together with each other. At times lines between men and women seem blurred and I have to be mindful to

7. Institutional support. In what ways did the sponsoring institution
support and not support the program?

The Bangladesh Therapeutic Theatre Institute is the organization which I am affiliated with. It is a very new, evolving entity that is promoting Psychodrama, Playback Theatre, Sociodrama and Sociometry. They organized the logistical aspects of the trainings and worked with their sponsors to get financial and logistical support. They are currently under the umbrella of the Unite Theatre for Social Action for financial and 5o1C3 status, but this is expected to change, as the BTTI grows into its own. They also made sure that I was picked up and dropped off and brought to where I needed to be. For the most part this went well with few issues. There was some confusion before I even arrived about how many trainings I was actually doing and with whom. The main person I work with through email is not fluent in English, and so I think there were missed connections due to this and different ideas of what the trainings were to look like. The BTTI is still evolving in terms of leadership style which is going to be critical for them as BTTI is more firmly established. It will involve a strong understanding of group dynamics, sociometry and democratic commitment to process. There was a lot of confusion around the organizing of the training at DU- More than a few conversations could handle. In the end it seemed to be resolved, but in the process there were a lot of hurt feelings and misrepresentations of who said what and who agreed to what aspect of organizing. With the help of conversations and sociometry and more conversations and more sociometry with my colleague Herb Propper who with me helped to develop the BTTI, we hope there is now more clarity. We are in deep conversations with ActionAid of Bangladesh which has underwritten some of our trainings, and CHART (Communities healing through Art) based in Connecticut. CHART graciously donated a digital camera for BTTI to use, and as well, posted our trainings on their website. Please go to chartaid.org for more information.

8. Overall program. If the training is part of a larger program, describe
briefly.

The trainings are part of the overall program developed by myself and Herb Propper a TEP of psychodrama. Herb was in contact with Mostafa Kamal Jatra about psychodrama and starting in 2002, he and I have been traveling to Bangladesh to teach and train people in Playback Theatre, Sociometry, Psychodrama and Sociodrama. Each of us have invited other experts in the field in order for Bangladeshi’s to get as much training as is possible to get practiced enough to be certified (especially for Psychodrama this is important)and to be fluent enough to be able to conduct a performance. Starting in 2005, I started to lead workshops about art therapy.
 
9. General observations. What is your overall assessment of the design and
effectiveness of the training?

Over all, I think the designs of the trainings I lead are fairly successful. I think a lot of it is being able to be flexible in the moment and to change a schedule as needed depending on the needs of the group. I think I was able to do this with a certain amount of success. I feel that had I been thinking, I would have separated the training in Chittagong and stayed with my commitment to doing advance training. Because I did not do this, I feel that those who were there and want to go deeper into aspects of Playback were frustrated by the need to teach the basics again. Clearer direction and boundaries about setting up future workshops are needed.

10. Special moments. Describe one or more key moments that stand out as
illustrative of success, failure, or a special "teaching moment."

There were many. All training had a particular rhythm to it. I felt the participants worked hard to focus and to become a team. As well, they were committed to understanding the process and working at it. The work ethic in general was very high for those who attended, including coming to trainings with fevers! I was impressed. I periodically sent someone home in order for them to recover and come back more fully. For me, watching Reza, Munna and Saba truly come into their own in terms of understanding of Playback was quite heartening for me and as well the teamwork that was created was deeply supportive of all of us.
There were many stories told in these two weeks. I felt that working with the participants at ADD was so enriching. The group as a whole could feel a collective “Aha” as they became more aware of their sense of selves and in that came into their own power as people. Not just disabled people.
There were many collective stories. There were stories of arranged marriages and how they felt about this.
Another moment was at the DU training, a story by S about feeling abandoned by his mother and his deep connection with his grandfather was told that played back not so much with the greatest acting skills, but they did have a real sense of the use of color of the scarves and metaphor. Clearly the actors had a very deep connection to the story told. To me it really underscored the deep therapeutic value of Playback Theatre. As the story evolved and was played back, there was a deep healing for not only the teller but the group as well.
I do feel that the first training in Chittagong could have evolved differently, that would have been more supportive of those at the training. I do wish I had been able to think more clearly in the moment around the group process. I take full responsibility around this as lead trainer.

11. Recommendations. What recommendations do you have for next time?

Better communication for planning the trainings while I am still in the Bangladesh. Also, it would be important to set up clear avenues of communication within BTTI and trainers that come to visit. I would like to see more advanced trainings being done in academic and non academic situations and as well, supervision in field sites where Playback is being done. As well, I think it would be good to write report outlines of workshops and performances that you are thinking of doing and to have them reviewed.
Playback has many nuances to it. The more that people in Bangladesh are able to work the more they will understand these aspects of Playback Theatre.

It is important that others come to Bangladesh to work with the teams there. As well, if at all possible, it would be very important for individuals to come to the states to further their training amidst others from a variety of cultural backgrounds. I very much would like to see Munna, Reza and Saba to come work at the Centre as they have had the most training and are the most advanced at this point and could very much benefit from the deepening in the form by a variety of trainers.

Other meetings: Met with the Board president of UTSA to discuss BTTI
 
 
 

CHART: Children Healing Through Art : email:  BJG3D@mags.net