Ghana: Investigating the Arts and Fighting Modern Day Slavery Background/statement/significance of problem After graduating from Neenah

High School in 2009, I lived in a homeless shelter. As off the beaten path as that may seem, I arrived at that moment because I chose to take a year off and work as an unpaid intern at the Dream Center Los Angeles. The Dream Center is a massive hospital-turned-homeless shelter, food pantry, outreach center, and human trafficking recovery home. Living in this remarkable place and working with thousands of homeless individuals inspired me to compose my first grant proposal in fall 2010. I was fortunate to have Cardboard Citizens: Empowering the Homeless funded by the UWL Undergraduate Research and Creativity program and as a result, I was able to travel to London. While there, I undertook a qualitative study of how a theatre company called Cardboard Citizens was using the life-changing performance techniques of theatre practitioner and social activist Augusto Boal to empower and encourage the homeless citizens of London. I was able to marry my experiences as an intern at the Dream Center Los Angeles with what I learned in London; in turn contributing to the ongoing conversation about the power of theatre and art in the arena of social justice. Now, in my Junior year as a student at UWL, it is my intention to expand the scope of my previous research by traveling to Ghana, West Africa to investigate how a organizations like Free the Slaves and Challenging Heights are using methods similar to Augusto Boals in order to rehabilitate and educate Ghanaian children rescued from slavery. The Dream Center created a program called The Rescue Project. This program was designed to serve as a place where men, women and children rescued from human sex trafficking could undergo secure and comprehensive recovery from what they had been subjected to as slaves. Working around these victims and being conscious of their situations instilled within me a passion to actively take part in the modern day abolition movement. I am interested in conducting pertinent, relevant research on how dance, music and drama are being used to help terminate modern day slavery. One organization that has proved itself to be a leader in the fight against slavery is Free the Slaves. This abolitionist non-governmental organization works to liberate slaves around

the world. It was created in part by Nobel Laureate and social activist Rev. Desmond Tutu. According to Free the Slaves: There are 27 million people in slavery today. They are forced to work without pay, under threat of violence, and theyre unable to walk away. You can find them in brothels, factories, mines, farm fields, restaurants, construction sites and private homes. Many slaves have been tricked by traffickers who lure vulnerable people with false promises of good jobs or education. Some slaves are marched to work at gunpoint. Others are trapped by phony debts from unscrupulous moneylenders. Slavery is illegal everywhere, but it happens nearly everywhere (freetheslaves.net). It goes without saying that the issue of modern day slavery is a topic worth time, resources and research. In addition to serving as a voice for modern day abolition efforts, Free The Slaves is also an advocate for organizations that use art forms as a way to help end slavery. My desire to study the issue of modern day slavery in Ghana stems from my passion for social justice, as well as a desire to gain and share knowledge of how ancient traditional Ghanaian art forms are used as tools for social justice in comparison to other social and artistic functions of dance, drama and music that I am learning as a Theatre Major. The knowledge I will gain from this time in Ghana will relate directly to my previous studies (and research) and will help articulate innovative, creative ways to fight the rampant injustice of modern day slavery. There is a large body of literature regarding the use of dance, movement and theatre as a highly effective means of therapy. My own experience with Augusto Boals method of Forum Theatre in London is proof that theatre can change lives (Boal 1979). However, there is not a substantial amount of literature about how these methods can be used in relation modern day slavery, especially in regards to smaller economic centers like Ghana, Haiti and Nepal where the issue of slavery is recognized as being the most prevalent (ungift.org). There are a few reports though, that have identified the value of drama, dance, movement and music in relation to freed slaves. For example; in a 2008 report commissioned by Free the Slaves in partnership with the U.S Department of Labor titled: Rebuilding Lives; An Introduction to Promising Practices in the Rehabilitation of Freed Slaves, author Helen C. Armstrong points out that

Dancing and drama have special value. Local traditions often include special songs and dances for children. Teach these so they can fit in to their home culture again. The literature that exists has been written largely by scholars of rehabilitation and trauma. This creates a more broad view of how these methods are used because research conducted by actual practitioners of dance, drama and music is limited . This is the reason why my research, which is specifically focused on how traditional Ghanaian performing arts are being used by Challenging Heights, is pertinent to the field. It is my intention to color within these broad brush strokes to help bring more clarity to this specific and relative issue. Objective If funded, I will be able to travel to Ghana for fourteen days during J-term 2012 with the University of Massachusetts- Amherst to study at the Dagbe Cultural Institute and research Challenging Heights, an NGO working in Ghana that uses performance as a tool to help rehabilitate and educate exposed to slavery. I intend to conduct my research with the following questions in mind: * How do dance, drama, and music differ in Ghana when compared to what I study at UWL as a Theatre Major and Music Minor? * How does Challenging Heights use dance, drama, and music to help these children recover and educate Ghanaian citizens? * How do these techniques and methods relate to my previous research with Augusto Boal and Cardboard Citizens? Research Methods I will be able to research and observe my objectives, in tandem with Challenging Heights and the Dagbe Cultural Institute by following these steps: 1) Sample Literature: Boal, Augusto. Theatre of the Oppressed. New York: Theatre Communications Group, 1979. Print. Chernoff, John Miller. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago, 1979. Print. Chernoff, John Miller. Hustling Is Not Stealing: Stories of an African Bar Girl. Chicago: University of Chicago, 2003. Print. Jackson, Naomi M., and Toni Samantha Phim. Dance, Human Rights, and Social Justice: Dignity in Motion. Lanham, MD: Scarecrow, 2008. Print.
3

Nketia, J. H. Kwabena. Ghana: Music, Dance, and Drama; a Review of the Performing Arts of Ghana. Accra-Tema: Ghana Information Services, 1965. Print. Schutzman, Mady, and Jan Cohen-Cruz. Playing Boal: Theatre, Therapy, Activism. London: Routledge, 1994. Print. Warren, Bernie. Using the Creative Arts in Therapy: A Practical Introduction. London: Routledge, 1993. Print. Wethered, Audrey G. Movement and Drama in Therapy; the Therapeutic Use of Movement, Drama, and Music. Boston: Plays, 1973. Print. 2) Study at Dagbe Cultural Institute by immersing myself in an intensive program of traditional dance, singing and drama. I will be instructed by Ghanaian practitioners who are masters in their fields. 3) Volunteer with Challenging Heights while in Ghana 4) Observe creative therapy sessions at Challenging Heights which use drama, movement and dance 5) Observe educational community events which use drama, singing and dance 6) Interview Challenging Heights Staff members to gain an in depth, qualitative understanding of slavery in Ghana and their arts based recovery programs 7) Compare these findings with previous research and works by Augusto Boal, as well as with Cardboard Citizens: Empowering the Homeless. The Dagbe Cultural Institute is an acclaimed educational body that strives to: train people from all walks of life interested in Africa arts, culture through the medium of music, dance drumming, drama etc, As well as To provide research assistance to students and Associate Professors to study traditional music, dance, drama, weaving of various types of kente, cloth, woodcarving, drumming production, religion and life skills (www.catointl.org). Located in a traditional village of Kopeyia, this location provides a completely unique, intensive study of Ghanaian culture and art. Immersion into Ghanaian culture is essential for me to be able to observe how Challenging Heights is using Ghanaian art forms to effectively fight child slavery. In addition to providing a practical way for me to become an educated observer, studying at the Dagbe Cultural Institute will help enhance the knowledge and practice of traditional African art forms for use during my time at UWL and as a working theatre professional. Challenging Heights is making incredible headway in the fight against child slavery and describes itself in the following way: Challenging Heights is a child-centered
4

organization working in Ghana to promote childrens rights to education and freedom from forced labor, in order to end child poverty. James Kofi Annan is the president of Challenging Heights, and is also the recipient of the prestigious Free the Slaves Freedom Award. If funded, I will have the opportunity to volunteer with this organization for three days so I can witness how they use drama as well as traditional Ghanaian dance, drumming and music to help rehabilitate children rescued from enslavement. I will also be able to interview employees and other volunteers in order to gain more insight into the goals of Challenging Heights and how Ghanaian art forms are being used to accomplish those goals. The experience will serve as a qualitative, experiential piece of research and will add new, vibrant observations to an arena in need of creative and practical dialogue. Volunteering at Challenging Heights will provide a direct outlet for me to observe how the skills I will learn at the Dagbe Cultural Institute are being used to empower Ghanaian children. I have already contacted the Director of Communications at Challenging Heights, Amy Brinkley, and she is very supportive of the research I intend on conducting (see attached). Challenging Heights focuses primarily on rescuing, rehabilitating, and educating children who are enslaved at various fishing camps in and around the capitol city of Accra. According to Free the Slaves: A typical day might begin at 3 am and end at 8pm and include challenging tasks such as casting nets, diving, and hauling, with only one meal served. Children often get stuck in the nets at the bottom of the lake. If a child is caught escaping, the consequences can be brutal. Often the families do not hear from their children again. It is this type of slavery that Challenging Heights is fighting against. Specifically, they are using drama, dance and song, created by rescued children to help prevent any more victims from falling into the trap of enslavement. According to my correspondence with Amy Brinkley It is a part of our community sensitization programs. Challenging Heights has a group of students that go into communities where they've identified trafficking and, along with our field staff and some teachers will host community events that educate about child trafficking and labor through song and dance and drama... It is events like these that I will be able observe in order to see how these methods are being used to fight slavery, and how it specifically compares to

similar methods associated with Augusto Boal which I researched during my time in London. Final Products and Dissemination. I will be able to present what I have learned from the Dagbe Cultural Institute and Challenging Heights at the Celebration of Student Research & Creativity festival in spring 2014. I will create an oral presentation to present my findings about how Challenging Heights is using drama, dance and music to end modern day slavery. Additionally, I will conduct a workshop on traditional Ghanaian dance for members of the UWL student body, UWL staff and La Crosse community members to highlight my research at the Dagbe Cultural Institute. Finally, it is my intention to create a collegiate chapter of Free the Slaves here at UWL with a focus on gathering artists and creative minds to bring awareness to the problem of modern day slavery both abroad and here in the US. I will send my compiled research to the Dagbe Cultural Institute, Challenging Heights and Free the Slaves in order to contribute to the ongoing dialogue about how the vitality of theatre, dance and music can propel us towards the mission of Rev. Desmond Tutu and Free the Slaves; To end slavery in our lifetimes. Bibliography: Armstrong, Helen C. "Rebuilding Lives: An Introduction to Promising Practices in the Rehabilitation of Freed Slaves." (2008): 1-116. Free the Slaves. Web. 24 Sept. 2012. "Free the Slaves - Ghana." Free the Slaves - Ghana. N.p., n.d. Web. 24 Sept. 2012. <https://www.freetheslaves.net/SSLPage.aspx?pid=676>. "Free the Slaves - Modern Slavery." Free the Slaves - Modern Slavery. N.p., n.d. Web. 24 Sept. 2012. <http://www.freetheslaves.net/Page.aspx?pid=301>. "UN.GIFT.HUB - UN Global Initiative to Fight Human Trafficking." United Nations Global Initiative to Fight Human Trafficking HUB. N.p., n.d. Web. 27 Sept. 2012. <http://www.ungift.org/>. "Volunteer Abroad, Drumming and Dancing Abroad with CATO in Ghana West Africa." Volunteer Abroad, Drumming and Dancing Abroad with CATO in Ghana West Africa. N.p., n.d. Web. 24 Sept. 2012.<http://www.catointl.org/dagbeculturalinstitute.html>.

"Your Investment Will Change Lives." Challenging Heights: Home. N.p., n.d. Web. 24 Sept. 2012. <http://challengingheights.org/>.

Complete Budget Breakdown Airfare to and from Accra, Ghana- $1,300 Room, board, program at the Dagbe Cultural Institute and Challenging Heights for 14 days- $2,150 Anti- Malaria Medications, Yellow Fever Vaccine- $200 Visa for entry into Ghana- $60 Total to complete research= $3,895 Total stipend requested- $600, to be used for above costs. Total requested= $3,000

2. Letter of Support October 15, 2012 To: Re: Undergraduate Research Committee From: Dr. Beth Cherne, Department of Theatre Arts Eric Busses grant proposal, Ghana: Investigating the Arts and Fighting Modern Day Slavery Dear Committee Members: I am writing in enthusiastic support of Eric Busses grant proposal, Ghana: Investigating the Arts and Fighting Modern Day Slavery. I have known Eric for several years as a student in my classes, a performer and choreographer in productions under my direction, and also as a successful writer and researcher in previous undergraduate research grant work. Eric is an excellent student, a dedicated artist/researcher, and committed activist. This proposal builds upon previous work he has successfully completed, funded by the Undergraduate Research program here at UW-L. His interest is in social-activist theatre, and his previous work studying a company in London prepares him well for both the intellectual/artistic elements in his proposal and the challenges of study abroad. His connection and plan to travel with the University of Massachusetts-Amherst program is a smart way to integrate group travel and his individual plans. He will have both the time

and the structure to complete the phases of his study. He has planned his activities very well, knowing that his time in Ghana will be packed with activity. Eric has also completed good background research into the activist theatre principles of key thinkers in this field, and is working on his knowledge of Ghanian performative arts. He is a very mature student who is self-directed and able to integrate knowledge and experience in a manner that outdistances most of his peers. My role with Erics project is to advise the writing of the grant (he is an excellent writer, and needed little guidance), guide his background reading, and advise the creation of his presentations after he returns. He is very self-motivated and capable of independent planning and critical thinking. I recommend full funding and have no reservations about the project. Eric will carry out this work with skill, quality and thoughtfulness. I hope the committee decides to fully fund his project.

3. Transcript

10

4. Previously Funded Research Information (if applicable)

11

If you do have not received previous funding, you may delete this section. If you have received previous funding more than once, duplicate this table for each project.

Title of Proposal:

Cardboard Citizens: Empowering the Homeless

When did you receive funding for undergraduate research/creativity? How much funding did you receive? Include semester and year.

Fall 2010. I received $1,680.

Who funded your work (Undergraduate Research and Creativity Committee, College Deans, a faculty researesearch grant, or other source)?

Undergraduate Research and Creativity Committee

Describe the results/outcomes of your research/creativity project?

I was able to gain insight into how Augusto Boals Theatre of the Oppressed Techniques was were being used to provide practical support the homeless citizens of London.
Did /will you present your findings at the UW-La Crosse annual Celebration of Research and Creativity? If so, what year?

I presented my findings in the spring semester of 2011 at the Celebration of Research and Creativity
Did/will you present your findings at any other conferences? If so, explain.

N/A
Did/will you submit a final report to UW-Ls Journal of Undergraduate Research? If so, what year?

Yes, in 2011
Did/will you publish your findings in any other journals? If so, explain.

N/A

12