Bridging divides through theatre: A case study of an Inter-Community youth theatre program in India

• In Event: From Classrooms to Communities: Education, Language, and Belonging in Peacebuilding Efforts

Proposal

Context and Intervention

India’s young people often grow up in fragmented contexts marked by caste, class, religion, and geography (Kharat & Tambe, 2024). These divides fuel social exclusion, mistrust, and sometimes violence, with youth among the first to suffer from such conflicts (Hilker & Fraser, 2009). We have also found that opportunities for meaningful inter-community dialogue remain scarce. Theatre and expressive arts, with their ability to surface personal stories and create collective reflection, have long been used in educational and therapeutic settings to enhance self-confidence, empathy, and well-being (Hawkins, 2021; Wall et al., 2019).

Approaches such as Theatre of the Oppressed (Boal & McBride, 2014) and Forum Theatre (Boal, 2005) are particularly valuable in such contexts. They invite participants to critically examine structures of oppression while simultaneously rehearsing possibilities of change (Romano, 2014; Snyder-Young, 2011). These methods not only promote dialogue and mutual recognition but also cultivate peace and social justice by enabling marginalised voices to be heard (Penton, 2017; Sonn et al., 2015).

The Yuva Ekta Foundation (a non-profit in New Delhi, India) has drawn on these methodologies to create spaces of interaction for young people aged 14–18 years from diverse socio-economic backgrounds. Between 2014 and 2020, as outreach partners for the Jaipur Literature Festival, the Foundation implemented seven community theatre programs designed to explore how theatre and the arts can foster empathy and cohesion among youth. Each year, approximately 60 participants, half from private elite schools and half from grassroots organisations working with marginalised tribal communities, came together for a 14-day intensive program in Jaipur (a city in Rajasthan, India). The first week focused on group-building through theatre and co-creating performances from lived stories, while the second involved presenting these works in schools and communities, followed by facilitated dialogues.

This paper is guided by two central research questions:

1. How do inter-community theatre programs foster self-concept, empathy and dialogue among youth in divided societies?

2. What role can theatre play in sustaining inter-community connections and contributing to peace education beyond temporary interventions?


Theoretical Framework and Methodology

Borrowing from classical models of Theatre of the Oppressed (Boal & McBride, 2014) and Forum Theatre (Boal, 2005), our work is grounded in a Humanist approach (Rogers, 1969; Maslow, 1971), which views education as nurturing dignity, self-actualisation, and holistic growth, and in Critical Pedagogy (Freire, 1970; Kirylo et al., 2010; Shor, 2002), which emphasises dialogue, agency, and social transformation.

Over seven years, the program engaged approximately 420 youth, working consistently with schools and grassroots organisations. Data was collected in several ways:
a) Pre and post-program reflections captured shifts in attitudes and experiences.
b) Surveys and feedback forms tracked learning outcomes and self-perceptions.
c) Participant case studies and narrative accounts documented personal journeys.
d) Follow-up interviews with 20 school and community partners, typically six months after the workshops.

Data was analysed through thematic analysis (Braun & Clarke, 2012) of qualitative inputs from surveys and participant feedback, allowing us to trace recurring patterns such as empathy, confidence, and solidarity across multiple years.

Findings

1. Growth in Self-Concept

For many marginalised youth, this was the first opportunity to speak publicly and be recognised for their stories. Stepping onto the stage built confidence and transformed self-concept.
“I didn’t know my issues mattered or that anyone would hear me. This is the first time I’ve stepped on stage and shared my story. Now I don’t fear putting my point across.” (Participant 1)

2. Development of Empathy and Inter-Community Interaction

Participants reported a growing capacity to understand peers from unfamiliar social, cultural, and economic contexts. Empathy manifested not only in emotional recognition but also in behaviour as youth began forming comfortable bonds across caste, class, and religious lines, sharing experiences and supporting each other within the workshop.
“I used to think child labour was abolished. In the workshops, I met people for whom it was real. Working with peers from different realities made me aware of my own privilege. Now I carry an understanding that we are all resisting similar injustices, and I want to keep that sensitivity wherever I go.” (Participant 2)

3. Youth Agency and Civic Participation

Over time, the program’s influence extended beyond the workshops and performances. Alumni of the theatre initiative began taking on leadership roles within their communities, drawing on the skills of dialogue, empathy, and solidarity cultivated during the program.
“Two of the participants (one boy, one girl) who worked with you are now contesting local elections. They say that there is a lot of discrimination in the area based on caste and religious lines. They hope to win the elections and lobby for change with the community.” (Field Coordinator’s feedback).

Discussion and Conclusion

The theatre program functioned as a peace pedagogy (Dutta et al., 2016; Setiadi et al., 2017) by creating a rare contact zone where youth from divided contexts could meet as equals. Theatre and the arts created a space where lived realities were shared, empathy was nurtured, and stereotypes were challenged, opening room for critical reflection and growth of self-concept (RQ 1). Dialogues built around these exchanges transformed them into catalysts for recognition, solidarity, and sustained connections across divides, while also planting seeds of long-term responsibility and connection beyond the temporary interventions (RQ2).

Scaling such approaches into schools and community institutions could embed theatre and arts education into mainstream learning, equipping young people to navigate difference and contribute to social cohesion. However, the major challenge to this program was sustaining funding during and after the pandemic. Despite its popularity and success, it was removed from the next year’s planning.
In summation, while this study offers a powerful example of how theatre can transform peace and justice-oriented education in divided societies, the fundamental success and continuation of such interventions remain contingent on sustained funding sources and institutional commitment.

Authors

• Rijul Kataria, The Yuva Ekta Foundation

• Puneeta Roy, The Yuva Ekta Foundation

• Bhanu Mehta

• Tarang Tripathi, University of California, San Diego