These are still to come: |
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PPP in Zambia and Nepal |
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Liminal issues |
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TFD as a feedback system |
| The Gibeon Story |
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or browse the BODY parts ... |
Developing the PPP idea
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PPP briefly, an overview
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TFD - Listening to the Communityworking with farmers in Mali, 1988 - 91, with the freedom to explore TFD as artistic and therefore cultural expression pointed towards the principles of PPP |
Crossing the Fourth Wall - Kolo village |
Cultural Errors - the Griot project |
When the Women Spoke out |
the gibeon storypublished in Development in Practice Vol 8 Number 1, Feb 1998 |
| The ONI-yô was the traditional marriage dance of the Bobo. The ONI is the gourd harp (kora) on the bell of which the drummer taps his rhythm, while the player calls out his words of guidance for the newlyweds. The player should be an initiate, and they are few these days. Christian missionaries campaigned actively against the use of sacrificial ONI and the ONI-yô (a men's dance) has now almost disappeared in favour of the imported balafon (xylophone) dance-music. The balafon musicians, who are griots, have to be paid and this is taxing the farmers' families, although providing vital income for the griots themselves. |
| The Forestry Department in particular imposed fines for unlicensed cutting of trees, even on the villagers' own land, and other contraventions of forestry regulations. The whole community was responsible for these sometimes extortionate fines, which the officer took a percentage commission. |
| In March 1991, the unpopular 23 year old regime of Moussa Traoré was finally toppled. Even before the coup, there were signs (demonstrations, burgeoning critical press) that the President's hour had come. In this climate, some officials welcomed an opportunity to show that they were on the side of the people. However, when the Embere'ui performers were rehearsing their play about the forestry service we briefed the project management who asked us to prevent its performance as it was considered dangerously contentious. In the event, the play went ahead with the sequel described but the incident was a reminder of unspoken limits to the Drama Unit's mandate to promote open communication. |
| The Drama Unit consisted initially of an expatriate theatre worker (Alex Mavrocordatos), later joined by a national counterpart. Bianivo Munkoro took over management of the Drama Unit after two years, later supported by Zoumba Dabou, himself of griot extraction. Both men originally came from villages around the project areas. |
P7 MenuMagic dwt Control Layer -Do Not Alter
An
account from cdcArts' recent article in Culturelink (UNESCO) that
describes the principles and practice of the PPP process, during the
first years of its development in Zambia and Nepal. 
2
Straddling the disciplines: