Creativity and social change in Timor Leste Kim Dunphy kimdunphy@optusnet.au

1. Creativity and social change in Timor Leste Kim Dunphy kimdunphy@optusnet.com.au International and Community Development, Deakin University September 2010

2. Presentation outline • Introducing East Timor (Timor-Leste) • Performing arts in community and development • Research methodology • Research findings: who, what, why? Certainties: the definite pluses Dangers and uncertainties Measuring success • What more do we need to know? • My questions to you, my audience Uma Lulik (sacred house), District Ainaro, Timor Leste Kim Dunphy: Creativity and social change in East Timor

3. A brief history of Timor-Leste • mid 1500s - 1975 Portuguese occupation;In the entire 400 years they achieved, • 47 elementary schools, two middle schools, one high school, no colleges • two hospitals and 14 clinics with a total of three doctors and two dentists • 20 kilometers of paved roads • 1975 - 1999; Indonesian invasion and occupation. • 200,000 people (1/3- ¼ of the population) died through starvation and torture. • 1999- referendum for independence; 78% voted for independence. • 2000 people killed, 90% of infrastructure destroyed by departing Indonesian forces. • 2002- became a democratic republic and the world’s newest nation • 2006/2007- civic unrest across much of the nation. Violence on streets. • Homes burned, large percentage of population internally displaced from homes. • 2008- President Ramos Horta and Prime Minister Xanana Gusmao shot by rebel guerillas led by Alfredo Reinaldo. President critically injured, but recovers. • 2010- Nation of 1.1 million people experiences relative peace and stability. • President Horta promotes Dili as ‘City of Peace’. Kim Dunphy: Creativity and social change in East Timor

4. Some current challenges for Timor-Leste • In World Economic Forum's 2010 Global Competitiveness Report • Timor Leste has fallen from 127 to 133 of 139 countries. • infrastructure (138 out of 139) • technological readiness 139 • financial market development 136 • health and primary education 132 • higher education and training 130 • innovation 136 • highest fertility rate in the world • maternal mortality ratio of 660 per 100,000 • infant mortality rate of 44 per 1,000 live births • (UNICEF, 2006). • Three in four households rely exclusively on • income from subsistence agriculture Photo: Holly Schauble Preparing rice Lospalos, Timor Leste Photo: Holly Schauble Kim Dunphy: Creativity and social change in East Timor

5. My PhD project Three-year research project investigating The role of participatory arts in social change in Timor-Leste. International and Community Development Dept, School of International and Political Studies, Deakin University, Melbourne, Australia Supervisor Dr Phil Connors Associate Supervisors Dr Max Kelly and Jacqui Dreessens. Arfalyca Art School (Wild Arts People) Baucau, Timor-Leste

6. Research methodology • In-depth interviews (75) • focus groups (4 involving 20 participants) Most Significant Change (Davies and Dart 2005) Theory of Change (Weiss 1995) Nafo Fila youth theatre group, Ainaro, Timor leste Kim Dunphy: Creativity and social change in East Timor

7. Who: main players in arts initiatives • individual artists and artsworkers: Timorese nationals and internationals especially from Australia, Europe, Indonesia • arts organisations: local theatre companies, choirs and performing groups, organisations such as Arts Access Australia, the Boite, AsiaLink • development NGOs and other civil society organisations: PLAN International, Save the Children, Alola Foundation, GTZ Germany, volunteer orgs such VIDA and AVI, Timor Aid, AHPEDA Union Aid Abroad, Many Hands International • government: local government in Australia through Friends Groups, Asian and European governments, USA. Some Timorese government programs Kim Dunphy: Creativity and social change in East Timor

8. What: Participatory performing arts with social change agenda in Timor Leste Artforms: social action theatre between 10 and 20 groups across the country One youth theatre project using devised theatre led by peace-focussed NGO Ba Futuru Traditional music and dance groups: one with social change agenda Contemporary music: youth music recording project, PLAN International One cultural tourism performance project Arte Moris art school, Dili Kim Dunphy: Creativity and social change in East Timor

9. Why: Intended outcomes of arts programs Social: trauma recovery, violence prevention, peace building, child and human rights promotion. health promotion, especially WASH Personal development: social and other skill development, confidence building cultural: cultural heritage and maintenance, cultural exchange, cultural tourism; education and language learning economic: tourism, livelihood development environmental: environmental awareness raising, environmental health issues Scared Cool project, BaFuturu, Dili Kim Dunphy: Creativity and social change in East Timor

10. Certainties- the definite pluses… Changes: changes that we can be most sure of; Positive experiences for the participants, when the work is led by a skilled and empathetic leader Intrinsic: Fun and enjoyment Cultural: Artistic expression, learning experiences, skill development. Social : Sense of family, especially important for those without blood family, personal growth: confidence, self-esteem. Economic: economic potential enhanced. Connection with foreigners leading to opportunities Scared Cool project, BaFuturu, Dili Kim Dunphy: Creativity and social change in East Timor

11. Certainties- the definite pluses… Changes for leaders; visiting artists, myself… Leading this project was…….. by far the most extraordinary experience of my life The performance night was a highlight of my life- to see the audience’s response….. It has really changed the way I view theatre as a form and also its history…… Young Australian theatre artist Kallista Kaval Kim Dunphy: Creativity and social change in East Timor

12. Certainties- the definite pluses… Changes for visitors and tourists; Increased empathy and understanding of the Timorese experience the most powerful political artwork I have ever seen. It helped me feel what Timorese have been through Asset approach- developing a positive sense of Timor andTimorese people. The show, the dinner and the journey home on the back of the truck with the full moon the kids so happy and excited was a peak experience; the best part of my trip here Nafo Fila theatre company, Ainaro Kim Dunphy: Creativity and social change in East Timor

13. Certainties- the definite pluses… Community change: intrinsic: fun and enjoyment cultural: original art-making developed, presented and appreciated by locals social: awareness raised through a shared community experience, maximising likelihood of discussion perhaps change for participants may ‘inoculate’ an area, life affirming experiences, this may have an overall positive impact economic: income to some members of the community through funding NG5 theatre group from Laga Kim Dunphy: Creativity and social change in East Timor

14. Uncertainties and dangers First do no harm……. Heavy topics; child abuse, family violence, human rights, abortion, war trauma mostly addressed by people without opportunities for training in behaviour change; therapeutic practice Behaviour change requires more than one impetus; not only awareness, but also penalties and rewards… Risks of raised awareness without behaviour change? Possibility of reduced openness, more shame Danger of engaging in process of opening to trauma without possible closing, no safety measures Kim Dunphy: Creativity and social change in East Timor

15. Uncertainties and dangers The artist…. values artistic process or product versus The health worker…… values outcomes for communities Low priority on outcome evaluation from artistic producers Health Alliance International study, 2006 Kim Dunphy: Creativity and social change in East Timor

16. Dilemnas about change in a fragile society Case example: Timorese performers representing their country at World Expo Cultural issues: In a community struggling with basic survival, how much change is appropriate? When there is change, whose cultural values are being represented? Dilemna about Indonesia being closest and most accessible country for new ideas and input, yet also history as brutal dominator. Aesthetic issues; where is the space for creativity in traditional culture, especially for women? When there is change, whose aesthetic values are being represented? Who can decide what culture is ‘ours’? Lejval dance group, Dili Kim Dunphy: Creativity and social change in East Timor

17. Measuring success: how do we know we have got there? Qualitative data Interviews with community leaders: Sefe de Suco: after this play, we have no more violence in our community Child Protection Worker: after this play, people know to come to see me Interviews with audience members: challenges with gaining audience’s perspective on impact of event: people not accustomed to analysing, reflecting on and verbalising experiences. Quantitative data; difficulties of obtaining relevant statistics, ‘controlling’ the artistic process Kim Dunphy: Creativity and social change in East Timor

18. What more do we need to know? One more case study, our own project, - control data collection better; - Access to all stakeholders and a wide cross-section of community members Randomised controlled trial: data from pre and post ‘intervention’ Toka Boot project, Many Hands International, Lospalos Kim Dunphy: Creativity and social change in East Timor

19. In conclusion • Brief overview of research: • social change performing initiatives across Timor Leste. • At minimum, • number of positive outcomes, • possibly a great number; • - intrinsic (fun and enjoyment) • - cultural - social - economic • Several possible dangers: • change in wrong direction, unforeseen negative impacts, complications • Some issues still to be pondered…. Toka Boot project, Many Hands International, Lospalos Kim Dunphy: Creativity and social change in East Timor