Reflections from the Youth Stories project: Creative disruptions with young people from low-income neighbourhoods in Singapore

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2023-06-01 DOI:10.1386/atr_00075_1

Natalie Lazaroo

引用次数: 0

Abstract

This article offers a reflection on a series of three drama-based workshops that I developed and facilitated, which formed part of a larger programme called Youth Stories. Youth Stories is a collaborative endeavour between a non-governmental organization (NGO) and a social service organization (SSO), which aims to provide a space for young people living in a low-income neighbourhood in Singapore to reflect on the issues affecting their communities, and to build the young people’s agentic capacities to create change. In this particular drama-based series of the project, the key aim was to explore common narratives associated with the young people’s neighbourhoods and the possibilities of disrupting these narratives through drama work.

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青年故事项目的反思:与新加坡低收入社区的年轻人的创造性破坏

这篇文章对我开发和促成的三个系列戏剧研讨会进行了反思，这些研讨会是一个名为“青年故事”的大型项目的一部分。青年故事是一个非政府组织和一个社会服务组织的合作项目，旨在为生活在新加坡低收入社区的年轻人提供一个空间，让他们反思影响社区的问题，并培养年轻人创造变革的能动能力。在这个以戏剧为基础的系列项目中，主要目的是探索与年轻人社区相关的共同叙事，以及通过戏剧作品颠覆这些叙事的可能性。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.