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Performance for Community Friendships 1

Communicating for Social Impact: Performances for Community Friendships

and Social Change in India and USA

Devendra Sharma

California State University- Fresno


Performance for Community Friendships 2

Communicating for Social Impact: Performances for Community Friendship and

Social Change in India and USA

This paper discusses how performances involving a community participation, create

dialogue among its members. This dialogue engages community members and brings them

closer to each other. The closeness developed among members of a community, in turn,

helps to create community friendships. The community friendships, or the friendships

developed in the public sphere are extremely important for generation and sustenance of a

sense of a shared world among its members. They also enhance mutual cooperation and

care within a community, which is critical for its holistic development and progressive

social change. In other words, “friendship depends on community” (Aristotle, 1980, p.

207), and vice versa. In this paper, I use illustrations from my field research in India and

Unites States to understand the relationship between performance and community. On a

broader level, I draw upon C.S. Lewis, Merilyn Friedman, Mikhael Bakhtin and Dwight

Conquergood’s ideas to explore the role of performance in creating the process of dialogue

and friendships within a community. Also, I build upon William Rawlins’s work to define

the basic tenets of friendship in a community setting.

Doing things together and creatively

When people are cooperatively involved in activities, they develop community.

According to C.S. Lewis (1960), doing things together instills a feeling of cooperation and

companionship among the members of a community. This companionship becomes the

corner stone of friendship. Although Lewis discusses the idea of companionship leading to

friendship in the context of dyadic or private friendship, I believe that the feeling of
Performance for Community Friendships 3

cooperation and companionship amongst the members of a community emerging from

shared activities is as important for friendship in a public context.

According to Lewis, there are many activities such as hunting, studying, painting,

etc. that generate a feeling of cooperation and companionship amongst the members of a

community. In this paper, I would like to discuss performance as an activity that not only

demands cooperation but also provides stimulation for people to relate with each other,

probably even more than other shared activities. I believe that performance, on a

community level, generates an active public dialogue among community members that

leads to a stronger sense of friendship, which is the basis of a well-knit community, a

community that develops together, with its members “side by side: their eyes looking

ahead” (Lewis, 1960, p.98). I believe that dialogue generated by a public performance is

an important ingredient of community formation. The nature of performance as a shared

activity is more conducive for producing dialogue because it creates an enjoyable and

entertaining atmosphere where participants feel comfortable relating with each other.

Public dialogue as a basis of a caring society

Merilyn Friedman (1993) views public dialogue as an important tool for

eliminating recognizable biases, and for creating a caring society. According to her,

individual perceptions, due to their limited capacity to take perspectives of others, cannot

be trusted as means for building a fair and caring society. She points out: “As for the

methods for eliminating recognizable biases from critical moral thinking, foremost

emphasis must go to interpersonal, including public, dialogue. For good psychological

reasons, each person’s unaided thinking cannot be trusted to discern its own biases” (p. 32).

Public dialogue brings people emotionally and intellectually closer, and helps them to form
Performance for Community Friendships 4

a shared sense of the world. However, Friedman also warns us that this dialogue must

involve the marginalized sections of a particular society, those who do not have enough

resources and status to participate and influence public dialogue. “Only in that way can

they have any hope of challenging the biased direction of public debate and its ensuing

impact on social policies and arrangements” (p.33). Thus, the dialogue, if it is to be

meaningful, should involve all sections of a society.

However, it is easier said that done. How do we involve the less privileged in

public dialogue? How can we create situations where people come together without being

conscious of the hierarchies prevailing in a particular society? These questions assume

importance when we see biases prevailing around the world in spite of the spread of the

modern education, and practices and arrangements such as the caste system in India, and

class and race divides in the western cultures.

I argue that performance occasions are among those rare opportunities where

people, even if temporarily, forget about the class, caste, and religious hierarchies and

participate together in a common activity. This participation helps them to feel affection

and equality towards each other, and over a period of time, hopefully, a sense of

commonality. Even if performance events are not able to achieve this

“identification” (Burke, 1945/1969) across different hierarchies and groups due to various

societal constraints, they no doubt contribute immensely to develop a sense of friendship

and bonding among relatively less privileged groups in a society and can even play a

subversive role leading to a possible change in status quo. Of course there is also a danger

that performances can arguably be used to preserve oppressive traditions and reinforce

status quo. In the following section, I discuss performance impact of Nautanki, a popular
Performance for Community Friendships 5

folk musical theatre tradition of India, and poetry sessions in America in the context of

Michael Bakhtin’s ideas to show how performance can create dialogue, which leads to

public friendship.

Performance as opportunities to create community dialogue

Mikhail Bakhtin’s work provides a good base to establish performance as a

potential tool for understanding the established and oppressive practices through social

dialogue. His notion of carnival celebrates liberation, even if temporary, from the

established order. He claims that the celebration of the carnivalesque helped remove the

hierarchical authority of the medieval church and state and replace it with humanism and

egalitarianism in the European renaissance (Bakhtin, 1968, 1984). According to Bakhtin,

ordinary people create social and cultural events at local levels to express themselves. For

centuries, one of the roles of performance traditions in India, for instance, has been

precisely this, i.e. to provide common people creative ways to fight oppressive structures of

caste and feudal system, and create flexibility in them. Community performances try to

achieve this end not by preaching but by creating a space for people to have interaction

among themselves, and with their social and cultural environment. Folk performances

facilitate vigorous inter-personal and group communication among audience members.

This interpersonal communication creates a bonding among people, which we can term as

public friendship. As Conquergood (1988) points out, there is a reciprocal relationship

between performance and the constitution of community; communities not only produce

but are produced by cultural performances. Let us take the example of Nautanki, one of the

most popular folk theatrical forms in Northern India, and discuss how its performances

encourage public dialogue.


Performance for Community Friendships 6

Traditional Nautanki performances and creation of public dialogue

Nautanki is a musical theatre tradition of northern India, somewhat similar in its

structure to Broadway musicals in America. Nautanki performances start late in the

evening and continue the whole night, concluding in the morning. In addition to providing

entertainment, Nautanki helps its audience construct a cultural language through which its

audiences make sense of their worlds. I have been a traditional Nautanki performer for last

more than 20 years, and I have seen at close quarters how

Nautanki supports active public dialogue, which has a potential for social change. Nautanki

performances cover a wide range of narratives from religion to politics; from everyday life

to grand stories of emperors. These performances provide a common context for otherwise

varied social groups in terms of caste and class in India and prepares a ground for them to

explore something that is socially and culturally common. Gradually, when these diverse

groups get used to relate to each other via a common activity, i.e. participating in a

performance, they can potentially cooperate with each other to affect desired change in

their socio-political and economic environment. For instance, in a popular Nautanki titled

Srimati Manjari, a young Muslim man protects a young Hindu woman (whom he considers

his sister) from the tyranny of her spoiled husband. This Nautanki was immensely

successful in starting a social discourse on communal harmony among Hindus and

Muslims in the early part of the twentieth century in parts of northern rural India (Agrawal,

1976). This social discourse can be understood as a rare instance of public friendship

between Hindus and Muslims communities, which otherwise have been known to have a

history of conflict in the 20th century in India. This kind of public friendship, formed across

communal groups through similar performances in various parts of India, helped to unify
Performance for Community Friendships 7

India against Britain and played an important role in gaining political freedom in the first

half of the 20th century.

Kathryn Hansen, a Nautanki scholar, supports Bakhtin’s view when she claims

Nautanki performances provide audience members opportunities to get glimpses of their

own community. It helps them in the vital construction of an ordered, meaningful world

(Hansen 1992). However, although a folk performance offers a meaningful order,

interestingly, this order is not necessarily a linear one. It is an uncertain one, and offers

many choices to its audiences to decide among various courses of action. Here lies an

opportunity to use a folk performance as a dialogical communication tool, which can be

proactively used to start a social change discourse. In other words, a performance, through

a carefully written script, can provide a critical space for the co-creation of messages

among its participants. Thus it lends itself to an open-ended, multi-layered, mutual

interpretation of contemporary socio-political conditions. This mutual interpretation makes

performance forms like Nautanki, important tools of cultural & social education, more than

printed texts, particularly in the context of oral communication-based cultures such as rural

India that have limited literacy.1 The interaction with their environment and interpersonal

communication facilitated by a community performance enables its audience members to

constitute and modify their social knowledge. This modification in social knowledge, may

lead to an attitude and behavioral change related with specific social issues. Let us try to

understand this concept through two research projects.

Formation of community friendships among young Indian men and women through

performance

1
Literacy rates in the North Indian states ranges from 47% to 70%, female literacy being as low as 34% in
some parts (Census of India, 2001).
Performance for Community Friendships 8

In the summer of 2007, my colleagues at Brij Lok Madhuri (BLM)2, New Delhi

India, Center for Media Studies3, New Delhi India, Saakar4 Foundation, Patna India, and

Ohio University, and I organized Nautanki performances to raise awareness on HIV/AIDS

in the state of Bihar, India. Bihar is one of the poorest states in India with a very high

HIV/AIDS prevalence. These performances were done by local performers in community

melas (entertainment fairs) that are common in Bihar. Prior to performances, folk experts

of BLM wrote a Nautanki script on HIV/AIDS and then trained performers (invited from

different villages) in a weeklong workshop. Participants ranged from 16-60 years in age,

with 4 females and 10 males. In June 2007, participants met daily from 9 am –5 pm in

Patna, the capital of Bihar to rehearse and discuss the script. After the workshop, four

performances in four different villages were done drawing an audience from 3000-5000

people in each of the four villages.

After each performance, participants (both performers as well as audiences)

discussed various issues connected to HIV/AIDS and made vows to not to discriminate

against people infected with HIV/AIDS. They also discussed breaking the social taboos on

issues such as discussing sexual relationship with one’s partner frankly. Research shows

that performances were very effective in starting a dialogue about HIV/AIDS in

communities that were previously considered it as a taboo issue and hardly ever discussed

it. There were many instances during the performances where tears could be seen in the

eyes of audience members when they watched the plight of people with HIV/AIDS in their

own community enacted in front of them.

2
Brij Lok Madhuri (BLM) is a non-profit organization in India which promotes social justice through folk
performances. BLM is led by the renowned Nautanki singer Pundit Ram Dayal Sharma.
3
A new Dlehi based research organization.
4
A non-profit organization in Bihar that provides health care to rural population.
Performance for Community Friendships 9

Another important result, though unintended, outcome of these performances was

forming of strong friendships among the local performers. By the end of the performances,

many of these performers felt that they were not fighting alone for change in the rigid

traditions of their society but were part of a strong team, and were efficacious to take on

many wrong social practices such as unequal treatment of boys and girls, child marriage,

substance abuse and dowry in their community. Many of them exchanged each other’s

contact information, and promised to remain in touch, and keep doing activities like these

performances in future on their own. Many of the participants, threw little parties after the

performance in their homes for their fellow participants!

Performers emphasized the value of friendships formed through the workshop and

performances. One participant shared in an interview:

I am glad to see the people who did this project and some of my friends who had

come from other places. I didn’t know them earlier but during the program we

become good friends. I wish to meet them again (Personal Interview).

Another participant shared with me:

From the very beginning, I felt comfortable in the workshop. I knew we were going

to meet strangers [performers coming from other places], but I trusted you to take

us somewhere safe and good for us. Seeing the other participants, they looked like

us and behaved like us . . . they were equally lost (laughter). But I know that now

we have a relationship forever. We will definitely invite them to our village and

introduce them to our family (Personal Interview).

One can observe a clear feeling of empowerment in these voices. An empowerment

achieved through the confidence of having friends with similar thoughts. The potential of
Performance for Community Friendships 10

achieving collective efficacy (Bandura, 1977) by a community through this empowerment,

and opportunities of its transformation in social change rises high as we will see in another

section of this essay.

Voice open stages in USA and friendship

The creation of community or public friendship through performance is not unique

to Indian society though. We can see similar effects of performances in other cultures too,

including American. “Voice open stages” in US are good examples of performance leading

to community friendship. To illustrate this process, I would discuss open voice

performance sessions at Donkey. Donkey is a coffee shop in Athens, Ohio. More than a

coffee shop, Donkey is a fun place where not only Ohio University students but also the

residents of Athens come to socialize. It has a warm and friendly atmosphere. The voice

sessions in Donkey take place every week on Tuesdays from 9 pm onwards. They are

organized in the back room of the coffee shop, which has ample space for around 50 people

to sit comfortably. Most of the voice sessions are “house-full”. The performers sign up at

around 8.30 pm, i.e., around half an hour before the commencement of the session. One by

one, performers come on the stage (a raised platform in the room) and read out their pieces.

These pieces range widely from poems to excerpts from novels, diary, and short stories. A

good sound system including a microphone allows an easy communication from

performers to audiences. Both performers and audiences at these sessions find this

atmosphere conducive to connect with others like them. One performer sees these sessions

as opportunities to give something back to audience members.

I guess it is about so many people watching me. It is just a fun feeling. To be able

to be out there... I have sat in the crowd before, and you look on stage and you say
Performance for Community Friendships 11

that, oh they are having such a good time. I wish I could be up there. When you are

actually up there, it is a feeling of giving something back to the people in the

audience. It just makes me feel good (Personal Interview).

One can see a clear realization in the above statement of the desire to connect with

others. It is interesting to see how in a relatively more individualized society like US, the

voice sessions such as the one in Donkey, facilitate construction of a community by way of

providing a platform to people to relate to each other, exchange ideas, get accepted by each

other, and make friendships. One of the participants says:

It is a good way to meet new people and make friendships and also a good way to

kind of (get) tuned on to new ideas and different things because some of the people,

the points that they bring up here are new to me or that I don't agree with, or I do

agree with, and I think hearing their point of view is helpful to kind of see a little

bit on the other side of the fence. You know what I mean? So I really enjoy that too.

It is definitely helpful (Personal Interview)!

An important point to note in the above statement is the spirit to learn new things

and modifying one’s subjective thinking by making new friends and understanding their

point of view. This clearly happens due to the dialogue among participants stimulated by

these performance sessions. The development of the capacity to take others’ perspective,

which is an important ingredient of friendship, is the key to community building and

cooperation.

Another important impact of performance highlighted during the conversations of

voice open stage performers was performance’s potential of empowering people. This goes

back to the Friedman’s concern for involving disempowered people in public dialogue
Performance for Community Friendships 12

mentioned earlier in this paper. Many people whom I interviewed during my study said that

they felt empowered by performing in front of people. Just the fact that many people were

listening to them and they were the center of attention was itself empowering. This

empowerment dimension was especially important and more visible for the performers

who belonged to marginalized groups and cultural minorities. One of our interviewees, a

black performer, expressed the empowering dimension of performance very well in the

following words:

For a long time, people of color in this country were not really allowed to perform

so what happened was that whites dawned black face to perform as black. So does

being a performer change you? Yes, it would have to be (Personal Interview)!

Poetry Festivals and community friendship

The development of a community friendship through performance in US is

discussed effectively by Scott Dillard (2002) in his review of books focusing on the poetry

festivals and poetry slams in United States. Reviewing Bill Moyers’ book, Fooling with

word: A Celebration of Poets and Their Craft, he quotes one of the poets Mark Doty that

captures the desire of relating to others through performance: “I find great hope in the

sense of connection with other people, the possibility that the worst experiences might be

transformed into a place where we might meet and stand together” (p.220). According to

Dillard, The Geraldine R. Dodge Poetry Festival, discussed in Moyers’ book “seems to be

a celebration of many ‘ones’ joining together into a community” (p.220). Dillard brings to

our attention many other instances in the Moyers’ book focusing on how poet and

audience, and audiences among themselves, come together through the performance of

poetry. The following observation of poet Kurtis Lamkin about the community
Performance for Community Friendships 13

participation in poetry festivals is very apt to show us how performance works as a carnival

where people come together and enjoy. This observation brings our attention back to the

Bakhtin’s idea of performance as carnival:

That’s the beautiful thing about being here at this festival. They call it a festival, but

it’s like a carnival-and you’re the ride! It is really interesting. One person in the

audience may be thinking about where he parked the car and how he’s going to get

out after the event. Someone else may be thinking about that appointment she has

with the dentist tomorrow. But sooner or later you feel their minds and yours are

one, and suddenly everyone’s involved (p. 219).

This “oneness” is the achievement of a community performance, and an integral

characteristic of friendship. When people start feeling close to each other, a part of a

common thing, they start making friendships.

The characteristics of public/community friendship

Although performance in a community setting leads to friendships, are friendships formed

through this process same as dyadic friendships? What do we mean when we say “we made

friends at the performance” as opposed to our personal or private friends with whom we

share the intimate details of our lives. It is clear that community friendship or in other

words, friendships developed in a public context is different from private friendships

though they share many characteristics. William Rawlins (1992) provides us a useful

description of the defining characteristics of friendship as a relationship. Although he does

this in the context of dyadic friendship, many of the characteristics he describes can be

applied to public friendships also. According to him, close dyadic friendships in American

culture are: voluntary, personal, have spirit of equality, mutual, and affective (Rawlins,
Performance for Community Friendships 14

1992, pp. 11-12). Obviously, the personal nature of dyadic friendships can not be part of

public friendships, though personal friendships can emerge from people’s involvement in

performances. However, we will focus ourselves here on friendships that develop not

between two individuals but among many individuals. Out of the above characteristics of

dyadic friendship, I believe equality and mutuality are integral part of public friendships

also. Moreover these two characteristics might also lead, over a period of time, to another

of Rawlins’ characteristics; affection. I would like to add a fourth characteristic, which in

my opinion is an intimate part of public or community friendship. This characteristic is-

service. Let’s discuss how performance facilitates the development of these features of

public friendships.

Equality

It is the hallmark of public or community friendships emerging from a performance event.

As Rawlins says, “although friendship may develop between individuals of different status,

ability, attractiveness, or age, some facet of the relationship functions as a leveler” (p.11).

During community performances, the performative process itself functions as the leveler.

People belonging to different classes or castes become equal while watching a

performance. In that moment they are all members of audience enjoying, laughing and

crying together deeply involved in a shared activity. Similarly, performers performing

together become a team. Every single performer, his or her social background

notwithstanding, becomes critical for the success of the performance.

Mutuality

Mutuality is inherent in the performative process and it diffuses in the community

friendships fostered during a performance experience. Performance provides a space for


Performance for Community Friendships 15

co-creation of messages between the performer and the audience. Performance, therefore,

lends itself to a mutual interpretation of contemporary socio-political conditions. Through

this interpretation and discourse, performance takes its performers and audience to another

plane in which the performer becomes the audience and the audience becomes the

performer. The performance experience involves performers and audience reaching out to

each other and reaching into themselves to express and discover their identities. The tools

of this mutual process of relating are environment, sound, body, and language.

Affection

Elements of equality and mutuality in a performance invariably lead to a pervasive

feeling of affection among its participants whether they are performers or audiences. A

teenage woman participant of the theatre workshop and performances in India tell us about

this affection and feeling of care for others evolving from her experience of performance:

From this play, we got many inspirations, which we would try to implement in our

lives, and will keep working for it. We have come together to form a “ youth

fraternity” to diagnose the problems in our society. I am very impressed with this

performance, and would definitely like to implement it in our society (Personal

Correspondence).

The use of the word “youth fraternity” is noteworthy here. It symbolizes the affection that

developed among the young participants in the performance workshop as a result of their

sharing the common activity of performance.

The feeling of affection also comes from the realization of common problems faced

by a community highlighted by collective performances. Thus the participants of Nautanki

performance in India realized that they are in the same boat and they would have to cling
Performance for Community Friendships 16

on to each other and support each other if they have to develop and grow. Potentially this

feeling of affection can grow and make people work for mutual betterment.

Service

The above three characteristics of community friendship, i.e. equality, mutuality, and

affection give birth to the desire in many members of a community to serve others who are

similar to them. This feeling of bonding is the root of rejuvenation and sustenance of a

community. This desire to serve others in fact makes life worth living. One female

Nautanki performance participant observed:

The desire to achieve something, and curiosity to gain special knowledge has also

increased, and I want that this change comes in other girls also. I will continue my

effort to counsel them, because an effort is never wasted. At last one day, the

darkness of this society will end and light will enter (Personal Correspondence) .

This concern for not only one’s self but for others also, is the ethic of care that Friedman

(1993) has discussed. Once this care is established among human beings, community

comes into existence. There can be no community without a desire to serve others, and

there can be no friendship without the existence of a community. And without friends “no

one would choose to live, though he had all other goods” (Aristotle, 1980).

Political and social implications of community friendships

Community friendships formed out of shared activities such as community

performances can affect real change in society. On the one hand, they can unite community

into action by reinforcing its already held beliefs, and on the other they can be powerful

tools to resist oppression and hegemony, and affect change. As Peter M. Nardi tells us,

“friendship has the potential to develop and maintain unconventional values and styles of
Performance for Community Friendships 17

behavior through shared choice and to transform social and political life” (Nardi, 1999, p.

189). He discusses how gay people in US have developed an identity by building

communities of choice largely through friendship networks. Supported by their friends and

community, they have organized a political presence and transformed social life. Notably,

According to Michael Pakaluk, the community friendships are developed when household

friendships are extended to mediating institutions, such as tribe or fraternal association, and

finally to state (in Nardi, 1999, p. 190). I argue that the performance events in a society can

be one of the bases of these associations.

Friendships formed during Nautanki performances in Bihar India are a good example of

these associations. Performers, particularly young women and men brought together by

these performances, formed a well-knit group of friends. This community of young people

did not stop at being satisfied by forming friendships for personal sake but went on to

affect a positive change in their social and cultural surroundings. For instance, they

challenged their society’s bias towards favoring boys against girls. In rural India, girls do

not have an easy access to education. Most of the time, girls work at home and help in the

house hold chores while their brothers go to school to study. In one of the villages, where

performances were done, the young women and men friends started a school in their

village for underprivileged children, particularly for girls who did not have an access to

education. They provided tuition, books, notebooks and writing material free of cost to

poor kids in their school. Initially they faced difficulties in getting students for their school

but soon the school became very successful drawing more than 50 poor children in a

village with a population of 500 people. In another village, a group of young friends

stopped child marriages and argued with their parents against caste system.
Performance for Community Friendships 18

Conclusion

Shared social activities like performances that invite community participation

encourage dialogue. Folk musical theatre, songs, and poetry festivals, among others are

examples of community performances. Performance offers an opportunity for community

members to identify with each other, and understand and co-create their world through

dialogue. People can also resist oppression by expressing themselves through community

performances. This co-activity and co-creativity stimulate a sense of community or public

friendship. Community friendships can be defined as friendships stimulated and developed

through participation in a collective endeavor with many “others”. Thus public or

community friendships are different from personal friendships as they are not based on

dyads. Once people start relating and enjoying with many others, they might want to

sustain this process by keeping their community involvement. A positive aspect of

performance as a supportive process of community friendship is that it not only invites

participation but also gives pleasure and joy to its participants, both performers as well as

audiences.

The potential of performance to create dialogue and friendship is very important for

a society that is based on care, as dialogue is the base on which care for others can be

understood and created. Thus community performances become important ingredients of a

caring, joyful, and intellectually active society. Equality, mutuality, affection, and service

are important characteristics of community friendships. These friendships have important

political as well as social implications, and can be effectively used for a change in

oppressive status quo. Thus community friendships are critical for a society as they extend

the sweet fruits of friendship to a whole community. They take care from the private realm
Performance for Community Friendships 19

of “self” to a public realm of “many others”. Community performances are the critical

communication opportunities that stimulate, encourage, and create these friendships.

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