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Theatre in Conflict Zones

About Programme

An Example of Cultural Diplomacy and Resilart
Whilst SSCC is a global institution, it was established in Colombia, a country which was, until 2016, involved in the longest and one of the bloodiest civil conflicts in the. world, resulting in 250,000 victims and about eight million displaced people. Moreover, global wars have been replaced in the recent decades in violent conflicts on all continents, from Europe to South America, from Africa to Arab world and Asia. Whilst the causes of these conflicts are complex, solution has so far eluded international community at large. SSCC firmly believes that artistic community can make a huge difference by promoting dialogue through cultural expressions, and people who understand each other and talk to each other are less likely to take up arms and fight a war.

Another reason for SSCC involvement in this programme is that many of its members are prominent artists for peace of UNESCO or goodwill ambassadors for cultural diplomacy and contacts with UNESCO have always been very close. Moreover, SSCC Chairman accepted the role as Co-President of the Colombian Centre of the International Theatre Institute in November 2020 and has acted as Vice President of ITI Social Change Network since 2015.

Further highlights were added in February 2021, on examples of Colombian cultural institutions and also on community performances in an Indian reservation in the department of Cauca which was particularly impacted during the civil conflict.

Theatre in Conflict Zones

Read the Press release

The Colombian ITI Centre’s work on theatre in conflict zones will also focus in 2021 on visibility of scenic arts both in cities and in the countryside which experienced violence committed by different actors, including guerrilla, those involved in narcotraffic trade, and paramilitaries.

For SSCC is fundamental to show to the world the works which displaced people and victims of violence have created as cultural managers in view of the consequences of violence which still affect Colombia.the following video, which was provided by the sscc partner, the foundation ÜUS YATXSA, illustrates the work with young people in the Indian Reservation Tacueyó in the province of Cauca playing andean indian music on indigenous instruments. This is a part of educational training with a view to preserving centuries old national heritage.

Theatre in Conflict Zones in Colombia

Theatre as a Bridge

Rojo (Red) Congregación Teatro de Bogotá

La Congregación Teatro is a theatre company which Johan Velandia established in 2007. Its purpose is to create a space of research for artists from different disciplines who dialogue in their respective languages on topical themes of social, political and cultural interest, constructing a scenic vocabulary which is dynamic, changing, agile and significant.

The company’s director and dramaturgy, Johan Velandia has combined in a prolific manner theatre and literary activity in the exercise of acting, theatre directing and dramaturgy.

Rojo is a history of a town which disappears from the map. It is a cartography of deceit and hatred which is planted in “Refuge” under the cover of progress and civilization. Red is a walking shoe which good people use to walk, it a registrar who baptizes at whim local people in a time without name. it is a gentleman in helicopter who cleans the forest in order to make roads, it is a promise, a desire to have more even if it reduces us as human beings, it is a track where planes loaded with white money land, it is a cult of death, it is witchcraft, it is a panther which bites the sunrise and buries old friends, it is a district, an invisible frontier, it is conduit through silence, the first communion with war, a childhood photo bathed in blood, it is a witch who visits a house of spirits, it is genealogy of evil. It is a history encrypted in narcotraffic and terrorism in Colombia.

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More dead than alive, company Danfroc, Cartagena de Indias

Teófilo Mercado Carriazo created the company Danfroc on 20 January 2017 with the purpose to contribute towards training of children from the Olaya Herrera district in Cartagena and thus positively impact the community.

It consists of 11 children between 9 and 15 years old, who attend third to eighth grade in different educational institutions and are residents of Olaya Herrera district.

The work treats the sensitive subject of sexual exploitation of minors, which is evidenced by social mechanisms which lead towards automation and loss of dreams and innocence of children.

Mina Turín Teatro from Buenaventura

Mina, directed by Johanna Robledo, is close to Woyzeck of Georg Büchner, a classic of universal dramatgurgy, but in the context of contemporary Buenaventura.

Synopsis: The play tells the story of a low-income private from the city of Buenaventura who is surrounded by a hostile environment which tries to convince him that he has no value because of its fragile social position. In order to improve his economic situation which will guarantee the future of his family, he feels compelled to take part in a clandestine research of a doctor in the capital.

Johanna Robledo, a lecturer at the University of Valle, Pacific headquarters, is in charge of Turín Teatro which is made up of students of Scenic Arts of this University.

Where donkey’s tails decompose, Umbral Teatro, Bogotá

UMBRAL TEATRO, which was founded by Ignacio Rodríguez and Carolina Vivas, was created in Bogota in 1991 and is made up of theatre players and professional musicians. The founders believe that this represented the most viable option to act as a research and creative team asking pertinent questions of its profession and the country. Each era thinks of itself as a particularity and does so from different places; It is necessary to think about today from the theater and find the language to do it.

In 2008, just a few weeks before the scandal of the so called “Falsos Poitivos” came to light, dramaturg and director Carolina Vivas finished writing the text Where donkey’s tails decompose, a play which speaks precisely of extrajudicial killings. The story, in the words of Vivas, is focused on Pedro Cagrejo, a peasant who disappeared and who the army tries to pass for a criminal.