Zyad Khan

Abstract

After suffering from decades of conflict from parties around the world, Afghanistan’s youth have been given the impossible challenge of reconstructing their society to become peaceful yet progressive. This paper explores the potential role that theatre as a medium to educate the youth on important issues such as human rights, gender rights, and skills. This paper draws from concepts such as “Theatre of the Oppressed” from Boal to provide further clarity for the role of theatre in Afghan society. Theatre can become a platform for Afghans to share their culture while being able to serve as collective action allowing the next generations to overcome trauma and pain and live in a future that is not clouded by violence. 

Theatre as a Tool for Rebuilding Afghanistan’s Youth

Afghanistan bears the scars of over four decades of armed conflict, presenting formidable challenges in reconstructing its economy, infrastructure, institutions, and society as a whole. At the heart of these challenges lies the imperative to empower the nation’s youth, cultivating a generation capable of steering Afghanistan toward a future of progress and away from cycles of violence. One avenue showing promise in this regard is theatre or live performances. This paper goes into the potential of theatre initiatives, both domestic and international, in educating Afghan youth on critical issues such as the rule of law, human rights, gender equality, and vocational training. Through theatre practices and an understanding of the socio-cultural context of Afghanistan, this paper argues that theatre can be used as a means to inspire and equip Afghan youth for leadership roles in fostering an educated and progressive society.

Theoretical frameworks in theatre and other types of performances offer insights into how the performative arts can serve as catalysts for change in societies like Afghanistan that have been heavily impacted by foreign interests. The concept of “applied theatre,” as explained by Prentki, involves interactive performances engaging non-professional community members with goals extending beyond just entertainment (Prentki and Preston). These performances allow Afghans to act out scenarios that may occur in the real world, some of these performances may equip the audience with the experience of being around people from different backgrounds. Many Afghan programs, such as the Bond Street Theatre, adopt this approach, utilizing theatre as a tool for education and social reform, particularly targeting marginalized youth.

Another framework similar to applied theatre is Augusto Boal’s concept of the “Theatre of the Oppressed.” This framework advocates for breaking down barriers between performers and spectators, thereby empowering audiences to reshape narratives and challenge oppressive structures. Projects, such as Educating Farmers Through Theatres, have embraced this concept, allowing diverse communities, including prisoners, farmers, and local councils, to actively engage with and influence the content of theatrical productions (“Educating Farmers Through Theatre”). These types of performances for Afghan youth, who have grown up surrounded by conflict, offer platforms for envisioning alternative societal scenarios. This allows for the youth of Afghanistan to learn about morality without putting them at risk of saying something incorrectly. 

Afghanistan’s recent history has been marked by foreign interventions, civil strife, and oppressive regimes, resulting in widespread devastation and deprivation. During the first Taliban era in 1996, in particular, witnessed the suppression of artistic expression, with cultural institutions systematically dismantled. Additionally, due to the negative connotation of theatre as a career during times of conflict, many become discouraged from even learning how to perform. While there has been a resurgence of theatre following the fall of the Taliban regime, much of it has been constrained by government censorship or limited in scope, failing to address the complex realities facing Afghan society, such as PTSD resulting from Soviet, US, or internal conflicts (Gienger).

Causing an entire culture to change their beliefs on theatre would be a difficult task, and even more difficult for children to pull off. One way to resolve this is by using or basing performances on performance techniques from traditional performances of Afghanistan and neighboring countries such as Iran. For example, one of the most common performances done in northern Afghanistan that is documented is “Buz-Baz” or goat puppet shows. A method that incorporates traditional performance would be having educational plays, such as a play about basic rights and laws, that are done entirely by goats or any other common animal in Afghanistan. Even though this may take attention away from a topic, such as human rights, these types of performances allow for the audience to think and apply the lessons learned into their own lives. 

Another method of performance that is done in Iran, which neighbors Afghanistan, is the practice of naqqali or performative storytelling. The primary audience for these performances is ordinary people, and although in Iran they primarily focus on stories from Iranian history, such as Shahnameh stories, these types of performances can be used in Afghanistan. In naqqali for children, children can look up to a figure that may be imaginary or not fully historically accurate, and learn from them how to act, talk, treat others, etc. Even if the story is about an ordinary person, it can leave an impression on the audience to understand their fellow Afghans. 

While the US maintained control of Afghanistan after September 11th, there was a proliferation of theatre initiatives led by local artists and international organizations, aiming to harness the transformative power of the arts. Documentaries such as Afghanistan: Reconstructing Through Theatre highlight inspiring examples, such as the Mobile Street Theatre, which tackles subjects that are considered to be taboo like gender equality and female empowerment. By amplifying the voices of marginalized groups, these initiatives resonate with Boal’s vision of theatre as a platform for social dialogue and transformation. The same can be done for the marginalized Hazara people in Afghanistan, who suffer from racism and discrimination as a minority group. An example performance would be how the daily life of a Hazara individual, and the amount of racism and discrimination that they face. Acting it out in Boal’s style can provide those who are facing this discrimination with a channel to overcome their emotions. This type of performance can also show those in the youth the wrong nature of discrimination.

On a broader scale, initiatives such as the “Theatre for Social Development-Afghanistan,” funded by the U.S. Institute of Peace, have collaborated with theatre groups across major cities to promote concepts like the rule of law and human rights. By staging interactive plays for diverse audiences, including prisoners and local councils, these projects aim to democratize discourse and foster critical engagement with pressing societal issues.

Looking ahead, there is a pressing need to expand theatre initiatives to encompass vocational training and skills development, equipping Afghan youth with the tools to rebuild their nation’s economy and civil society. Projects like the “Regional Agricultural Development Program-South” have demonstrated the potential of theatre in disseminating practical knowledge, and in this case, it was with farming or agriculture. Similar efforts could be extended to other fields such as healthcare, mechanics, and education, as they can show the youth how many different things they can be, rather than just entering the violent path of being a fighter or soldier.  

Furthermore, it’s crucial to go deeper into the specific ways in which theatre can address the challenges facing Afghan society.  For example, theatre can play a role in promoting gender equality and women’s empowerment. Afghanistan has long grappled with deeply entrenched patriarchal norms, exacerbated by decades of conflict and instability. Women and girls continue to face significant barriers to education, employment, and participation in public life. For this to be resolved, both men and women must learn that this is not just. If this is to be resolved by the Afghan society, the youth must educate themselves regarding these scenarios. 

Theatre initiatives have emerged as platforms for challenging gender stereotypes and amplifying the voices of Afghan women and girls. Bond Street Theatre is one such example. These performances featured troupes of young women who creatively engage with subjects considered taboo or not openly spoken about and advocate for gender equality. By highlighting the experiences and perspectives of Afghan women, these theatre productions raise awareness to the societal issues, but also inspire societal change. The children, especially young men, need to grow up aware of issues that Afghan women face, as they will be the ones tasked with the problems left by the previous generation (“Afghanistan: Reconstructing Through Theatre”). 

If done in this manner, theatre initiatives would contribute to the empowerment of individual rights and social change but could also play a role in building peace and resilience at the community level. By fostering empathy and understanding, theatre can help lay the foundations for a more inclusive and cohesive society in Afghanistan. Furthermore, it is important to recognize the potential impact theatre can have on addressing the root causes of conflict and violence in Afghanistan. Beyond its immediate impact on education and empowerment, theatre can cause broader social and political change. By challenging strict power structures and amplifying the voices of marginalized communities, theatre productions can inspire collective action and advocacy for systemic reform. Through powerful storytelling and creative expression, theatre can shine a spotlight on issues of injustice, inequality, and corruption, mobilizing public opinion and gathering support for positive change. In this sense, theatre initiatives have the potential to complement and reinforce broader efforts toward peacebuilding and reconstruction in Afghanistan. 

By empowering Afghan citizens and the future generation of Afghanistan to want to seek change, theatre can help create the framework to educate people about an inclusive and equal society. This society could be focused on principles of justice, equality, and human rights, as those who suffer from discrimination in any manner can use theatre as a platform to educate others. However, in 2021, a new challenge began when the Taliban captured Kabul. For the past 2 years, Afghanistan has been impacted by this in many aspects of society, such as the performing arts. Historically, the Taliban’s strict interpretation of Islamic law has led to the suppression of artistic expressions, including theatre and music. During the initial rule from 1996 to 2001, the Taliban banned music and destroyed cultural artifacts, such as the monumental Bamiyan Buddha statues (Mao). This pattern of cultural repression has resurfaced since their return to power and may continue for the foreseeable future.

Under the current government, theatre as an artistic medium faces several obstacles. According to reports, numerous public places have reduced music, and artists and performers are being harassed (Armangue). Many artists have fled the nation to protect their profession as a result of the Taliban’s stance on the arts (“Artistic Exodus: Afghan Artists Fleeing Taliban Rule”). This setting restricts opportunities for public performances and presents significant risks to theatre professionals. With these obstacles, the Afghan diaspora has been instrumental in using theatre to preserve and advance Afghan culture. By creating venues to present Afghan stories, exiled artists have made sure that the nation’s rich cultural legacy endures. For example, Afghanistan’s first all-female group, the Zohra Orchestra, relocated its members to Portugal and is still performing abroad (“Zohra Orchestra”). These initiatives demonstrate the tenacity of Afghan artists and the significance of cross-border cultural preservation.

In conclusion, while the current political climate in Afghanistan presents formidable obstacles to the performing arts, the role of theatre in cultural preservation and social advocacy remains vital. The Afghan diaspora’s initiatives demonstrate that, even in exile, theatre can serve as a powerful medium for education and empowerment. Theatre stands out as a medium capable of addressing the challenges facing Afghanistan. Through applied theatre practices, Afghan youth are offered a means of education, empowerment, and social reform. By confronting and challenging oppressive structures and societal norms, theatre creates spaces for dialogue, empathy, and collective action. As the nation strives to rebuild after decades of conflict and violence, harnessing the talents and voices of the younger generation through theatre can play a crucial role in cultivating a more inclusive, equal, and resilient Afghan society. By supporting and expanding theatre initiatives, both domestically and through international collaboration, Afghanistan can harness the transformative potential of theatre to inspire and equip its youth for leadership roles in shaping the nation’s future. Theatre’s ability to address issues such as gender equality, the rule of law, and vocational training makes it a vital tool for social change, offering hope and pathways for a brighter future for Afghanistan and its people.

References

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“Educating Farmers Through Theatre.” USAID, www.usaid.gov/results-data/success-stories/educating-farmers-through-theatre. Accessed 19 Apr. 2024.

Gienger, Viola. “Afghanistan Theatre Troupes Bring Messages of Law and Peace to Shuras, Prisons.” United States Institute of Peace, 7 Feb. 2017, www.usip.org/publications/2013/03/afghanistan-theatre-troupes-bring-messages-law-and-peace-shuras-prisons.

Prentki, T., & Preston, S. (Eds.). (2009). The Applied Theatre Reader (1st ed.). Routledge. https://doi.org/10.4324/9780203891315

Mao, William. “Conserving Afghanistan’s Cultural Heritage Under Taliban Rule.” Harvard International Review, 29 Jan. 2024, https://hir.harvard.edu/conserving-afghanistans-cultural-heritage-under-taliban-rule/.

“Zohra Orchestra.” Wikipedia, https://en.wikipedia.org/wiki/Zohra_Orchestra.