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Implementing Multiple Gender Strategies to Improve HIV and ... - ICRW

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they were paid a stipend. The communication skills women acquired in the<br />

theater training could also be used outside the theater context, such as in<br />

job interviews <strong>and</strong> in communications-related work tasks, <strong>and</strong> thus<br />

equipped women with transferrable vocational skills.<br />

Target Audience • Low-income women living in Khayelitsha community<br />

• The Khayelitsha community<br />

Level of Intervention • Community<br />

• District<br />

Geographic<br />

Location<br />

The <strong>to</strong>wnship of Khayelitsha<br />

Timeframe January 2006–December 2006<br />

Funders<br />

United Nations Trust Fund in Support of Actions <strong>to</strong> End Violence Against<br />

Women<br />

Partner<br />

Organizations<br />

Implementation partners:<br />

• Treatment Action Campaign (TAC), Khayelitsha District<br />

• Wola Nani (Khayelitsha)<br />

• Simelela Rape Survivors Centre<br />

IMPLEMENTATION AND RESULTS<br />

Start-up <strong>and</strong><br />

Implementation<br />

Process<br />

The Laphum’ Ilanga project grew out of discussions with a range of<br />

community-based organizations <strong>and</strong> the Rape Crisis Center about the need<br />

<strong>to</strong> raise awareness of the link between gender-based violence <strong>and</strong> <strong>HIV</strong><br />

transmission. Laphum’ Ilanga drew specifically on Forum Theater, an<br />

interactive participa<strong>to</strong>ry theater form developed in Latin America in the<br />

1960s by Augus<strong>to</strong> Boal.<br />

Support groups, volunteers, <strong>and</strong> counselors within three organizations,<br />

Simelela Rape Clinic, Treatment Action Campaign (TAC) <strong>and</strong> Wola Nani,<br />

identified a group of 28 women <strong>to</strong> participate in a two-week training<br />

workshop. The women were introduced <strong>to</strong> Forum Theater <strong>and</strong> the process<br />

of creating plays that would lead <strong>to</strong> audience participation, <strong>and</strong> recounted<br />

<strong>and</strong> explored their own experiences with violence, power relations, <strong>and</strong> <strong>HIV</strong><br />

<strong>and</strong> AIDS, among other things. The women then performed eight different<br />

plays at twelve outreach performances between June <strong>and</strong> August 2006.<br />

They performed <strong>to</strong> diverse audiences in Khayelitsha at a variety of venues:<br />

church events, taxi <strong>and</strong> bus terminals, shopping malls, <strong>and</strong> advocacy<br />

events organized by local partners <strong>and</strong> local community centers. The<br />

women also participated in outreach activities around the 16 Days<br />

campaign, including appearances on community radio.<br />

Local Involvement/<br />

Ownership<br />

Community involvement was high at the grassroots level; however,<br />

indications of ownership by partner organizations did not emerge. Project<br />

129

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