Wednesday, March 08, 2017

Celebrating International Women's Day

On the occasion of International Women’s Day, we celebrate the achievements of women and girls around the world, and are reminded of the challenges that lie ahead on issues ranging from domestic and gender-based violence, to girls’ education, to voting rights for all, to social justice, to safe self-expression. Today, we highlight a selection of projects created in collaboration with our partners around the world devoted to women’s rights.


As a part of the 2010-2012 Theatre for Social Development project in Afghanistan, we worked with four Afghan theatre companies, and created four new all-women’s theatre troupes as part of the project. For the first time, the troupes were able to reach women directly, performing in homes, girl’s schools, and women’s shuras. The photos above and right below were taken as part of a 2011 workshop conducted by Bond Street Theatre and Simorgh Theatre of Herat.

Malia, one of the workshop participants, shared: ”When I came to the workshop, I was really shy to even move, but now I really feel free to speak aloud and talk to audiences”.

Manizha, another participant, reflects on the importance of women’s unity: “What I learned by performing in so many different places is that most of the women have no good relationship with others and with society.  They are fighting with each other!  If we stand up together, we can solve this problem. This is the most important and useful thing for myself”. 

From 2014-2016, BST’s Youth-Led Community Engagement Project brought  together 375 youth from 25 Afghan provinces for arts-based leadership and communication training. One of them, the Women’s Group of the Volunteer Youth of Kunar, chose to implement a project focused on ending violence against women. The participants conducted sessions and workshops with women, and  met one-on-one with families to discuss the vital importance of education. 

In Guatemala, we initiated The Acting for Peace project, which implemented theatre programs for at-risk women and youth living in rural areas, and workshops with young women aged 10 to 17 in collaboration with Oasis Orphanage.

As a task for one of the workshops, girls had to come up with short pieces to perform. In this picture, captured in 2012, the girls present the following story of unity: “There is one tree in the forest that stands alone. It is proud of itself, thinking it the strongest and best tree around. One day, a woodcutter comes along and cuts it down easily. Then the woodcutter goes to a grove nearby, where all the trees have grown together.  He tries and he tries to cut the trees down, but he can't - the trees are united”. 

In these pictures captured in 2007 in India, BST staff and Indian women collaborate on workshops, later to be turned to a play to be presented to a wider audience. As part of our time in India, BST was fortunate enough to work with the famed Patachitra painter-storytellers of West Bengal, a primarily female group dedicated to storytelling across mediums. Recalling a BST stilt-walking workshop, Nurjahan recalls: “At first I was “Ohhhh, I don’t want to go on stilts,” but now I know once I go for it, after that, I don’t have any apprehension at all”.

Working in Haiti in 2012, BST collaborated with women’s group FAVILEK (Women Victims Get Up, Stand Up), survivors of politically motivated violence. The original show created by the women, Fanm Yo Di Ase!, was a powerful testament to the resilience of women, and a call to action. In the words of Marie of Haiti, “They fight violence. It takes courage and valor. Replace violence with love!”

As we work towards creating a more equitable world for all women, Bond Street is grateful for the women and allies that we have met and worked with around the world, crossing lines of citizenship, age, disability, and sexuality, but sharing a common core of courage and creativity.

Tuesday, January 31, 2017

Volpone: From Rehearsal to Performance

In our final weeks in Myanmar, Bond Street Theatre and Thukhuma Khayeethe premiered our quite unique version of Volpone, an adaptation of Ben Jonson's 1605 play. The play is a fusion of styles, combining Italian commedia dell'arte with a Burmese dance to the spirits, and addresses the particularly relevant theme of personal responsibility in a country just moving from strict military rule to a certain amount of personal freedom. With freedom comes responsibility

Check out photos from the process below:

The Bond Street and Thukhuma Khayeethe teams discuss the script
(L-R: Nyan Lin Aung, Ngwe Ngwe Tin, Zin Mar Thwin, Kyae Zan and Soe Moe Thu. 
Not shown: Soe Myat Thu, Thila Min, Michael McGuigan and Joanna Sherman)

Rehearsal sure is tiring!

A dusty dress rehearsal at Gitameit

Our smallest audience members listen to the live pre-performance music at our second performance -- in a squatter settlement just outside Yangon. Wah Wah (in the blue dress at right) played the Burmese harp, which can be seen on the chair next to her, and the violin. 
 The audiences stayed enthralled and attentive for the entire hour and a half show!  And eagerly contributed to the ending in which the audience gets to decide who is guilty and who is not and why. Most important, they understand that they have a voice in their future -- they can speak out against injustice and have a responsibility to do so

Audience participation at the final show in the lovely township of East Dagon in Yangon.

Bond Street Theatre and Thukhuma Khayeethe give a huge thanks to all those that made this production possible, especially the Theatre Communications Group's In the Lab Grant program that supported the entire mulit-year process, the Gitameit Music School, and all of our supporters!

Monday, January 30, 2017

Volpone Premieres in Yangon

People have been asking, why Volpone?  How did you manage to make that make sense in Myanmar?  Did they catch the British humor or understand the context?  Well, it was easier than one might think -- human beings have the same flaws and foibles everywhere. Adjusting the characters to Burmese society was not a big leap!  

The tough part was the verbal translation -- translating from old English to new English to American to easy American to Burmese to clever Burmese. Even the humor slipped easily between cultures. It's a great pleasure to know that what makes people laugh is the same everywhere you go. People love to laugh.

[It reminds me of our first performances in Afghanistan in 2003, just after the fall of the Taliban regime. We took a comic show to small towns where people had never seen a show, since all of the arts had been banned under the Taliban. There were still many Taliban-sympathizers in the audience and we had no idea if we'd be welcomed or shot. In fact, they were rolling in the aisles (figuratively speaking) -- the children along with the white beards!  Everyone loves slapstick! ]

The other reasons for doing Volpone is the content and message. Both companies believe that theatre artists have a unique opportunity to facilitate discussion around social issues and, in Myanmar, that has not been an option. All outlets for discussion were censored, and all public material had to pass government scrutiny beforehand. We hope that this production will make bold first steps. The story is bizarre enough to only obliquely reflect reality and anger any leftover censors. And, hopefully, it will provide an exciting model for social engagement through theatre for both performers and audiences in the future.  

Meanwhile, Yangon is a city in transition! Newly opened to foreign trade, I was shocked to see shops like Armani in a newly refurbished airport that had only had local handicraft stalls for years!  So it was only appropriate that, against this backdrop of change, Bond Street Theatre and Thukhuma Khayeethe premiered our Volpone in a space that was quite literally still under construction.

Volpone premiered at the new Gitameit studios, with workers pouring concrete in the next room and bamboo scaffolding holding up the stairwell. Nonetheless, the show was a success, with laughs all around, and an opportunity to test the material and the interactive ending. Since it was at Gitameit, among artists, we got some great feedback and ideas. Up next: two more performances in more daring spaces around Yangon!

Check out photos from the rehearsal process below, and stay tuned for more updates:

Monday, January 16, 2017

Updates from Myanmar

Greetings from Yangon, Myanmar, where Bond Street Theatre has just wrapped the second week of rehearsals for Volpone, our show in collaboration with Burmese theatre group Thukhuma Khayeethe.

Those of you who have followed Bond Street's adventures over the years might remember that we frequently rehearse at the very cool Gitameit Music School in Yangon. This time we were lucky to be the first group to rehearse in the "new" Gitameit studios. Well, lucky might be a little strong, since they are still actively constructing the building, which meant dust, nails, sparks and concrete everywhere. Concrete steps newly poured..."hmm, any steel reinforcing in there?" we wondered as we made our way to the third floor. 

The best thing was the group of workmen who traipsed around during our warm-ups and rehearsals, watching us with great curiosity. One of them was heard to say, "What are they doing? They're just playing!"  Yup. That's why they call it a play.  

After one week, they started some serious welding in our space and we had to move. For our second week, we rehearsed in a small Buddhist Monastery located near the home of director Thila Min. Note: monasteries make great rehearsal spaces!

Our rehearsals so far have included practice in traditional Burmese dance, learning a traditional Nat dance, a spirit dance that (interestingly enough) is about the joys of drinking. We have spent our meetings with TK over the years sharing physical performance techniques, so we speak the same language theatrically and can jump right into the work. Our latest addition to the mix was introducing the style of the Italian commedia dell'arte. Now, in the third stage of working on Volpone, we are easily blending our mix of physical vocabularies.  

We are working all day -- 10am to 5pm!  What a luxury!  Morning and afternoon sessions are separated by lunch at one of the street side stalls. Yes, I know they say don't eat street food... but this is what they have! And it's great food, freshly made from fresh produce from local farmers

Next week is tech week and the cast and crew will be assembling set pieces and costumes for our debut public performances in the following week!  It's been a whirlwind process, and the next week is sure to be no different. If there's one thing we've learned about street performances, it's that they are always full of surprises! Stay tuned!

Rehearsing at the New Gitameit Studios

Monday, January 02, 2017

Street Theatre in Myanmar

We landed in Yangon, Myanmar and, after 24 hours of no sleep, immediately made up for lost time. Still a bit jetlagged, we met with the whole gang from Thukhuma Khayeethe yesterday, our intrepid and inventive partners in Myanmar since 2009. Since our last visit just a year and a half ago, there were two marriages and three children including one set of twins!   

This week we will begin our rehearsals for Volpone, our adaptation of Ben Jonson's 16th century play. A dual-language production, the show tackles themes of greed and corruption but, since plays in progress have a way of taking on a life of their own, we'll see how it manifests these or other themes.

The challenge, beyond the obvious hurdles of creating successful theatre, is that Thukhuma Khayeethe is trying to create a culture of contemporary theatre where there has been none over the last 5 decades. Traditional theatre abounds, and this is what the tourists want to see, but contemporary theatre has been forbidden under the military regime since, as we know, theatre is dangerous! It can expose uncomfortable truths!

In addition, it was our intention, now that the military regime is (mostly) gone, to bring theatre directly to the people by doing our plays in the streets or parks. There are no venues for contemporary theatre, so it's is a logical place to perform... but how would an actual play be received?

People do see dramas on TV, so the idea is not unknown, but they don't see theatre. They love comedy, so we have to combine both, with the added complication that we intend our Volpone to be interactive with the ending decided by the audience. Will they respond?  Will they participate?

Since our last trip, Thukhuma Khayeethe has also started a coalition of four young theatre groups that also want to do modern theatre. TK is the oldest and most experienced group, but it is really encouraging to see a new movement starting up. 

With this interactive show, we will be examining all these questions with Thukhuma Khayeethe, and continuing to figure out how to use theatre to spark discussion and bring taboo topics to light without having anyone end up in jail.  With performances in public spaces as our testing ground, and a newly opened government, we have a unique opportunity to experiment with all possibilities while refining the show.  We can't wait to see where the coming weeks take us!

Wednesday, December 14, 2016

Tackling Injustice in Afghanistan

We are excited to announce that this week we are beginning a yearlong program to inform and engage communities in Afghanistan about legal rights and access to justice. Bond Street Theatre-trained Youth Leaders from across the country have come together in Kabul to address the major barriers to justice in their provinces, and discuss solutions. 

Our Kabul facility is already a hive of activity, with the teams hard at work devising awareness-raising strategies to bring accurate information to the public, and spark community dialogue.

Much of Afghanistan relies on traditional councils for dispute resolution, with outcomes that are often arbitrary, driven by personal relationships, discriminatory against vulnerable groups, and impose overly harsh sentences. Up to 80% of legal disputes are resolved outside of the formal justice system. To improve access to justice and the consistent application of laws, citizens need a clearer understanding of their rights, and the resources available to uphold them. 

Over the next week, the Youth Leaders will create original mobile theatre plays and media campaigns to tour in their home regions, which will 
inform the public of their rights, and engage in dialogue with local authorities, police, justice officials and religious leaders. By promoting justice sector reform that meets the requirements of the formal justice system while respecting local frameworks, they hope to engage all members of their communities in the justice process.
With youth under the age of 25 making up over 50% of the country's population, young people are in need of opportunities to have a voice in their country's future.
Building on the enthusiasm and success of our Provincial Youth Leadership project, we are excited to watch our Youth Leaders take on this new collaboration, using their leadership and communication skills to disseminate information about rule of law and access to justice in their own communities across Afghanistan. We can't wait to see what they come up with!

Thursday, October 20, 2016

Working in Azerbaijan: "We really entered a different life"

This past February, Bond Street Theatre travelled to Azerbaijan to conduct a program with local university students, in collaboration with the US Embassy.

We landed in Baku and, with barely a moment to catch our breath, immediately hit the ground running. The capital of Azerbaijan, Baku is a sprawling urban center that is half old Soviet buildings, and half new construction made possible by vast sums of oil wealth. We had three weeks to create, rehearse and tour a piece of social theatre with students from the State University of Culture and Arts, a daunting task to say the least.

Azerbaijan is a tiny country located on the edge of the Caspian Sea, and politically dwarfed by its neighbors: Iran to the South, and Russia to the North. As a former member of the Soviet Union, Azerbaijan is relatively new to democracy, and still struggles with corruption, with a government that does not look kindly upon dissidents.

Week 1: “You make us actually want to learn!”

Within this context, we began our first week by training 22 students of both the social sciences and the arts in Bond Street Theatre’s social theatre techniques. Our collaborative, exploration-based approach was a totally new experience for the participants, most of whom were used to authoritative teachers, and accustomed to a culture of individual as opposed to group achievement. The idea of an “ensemble” was a new concept.  One of the workshop participants explained that, “We didn’t feel any favoritism. This made us strong and feel like we have one shared goal,” while another proclaimed, “You make us actually want to learn!”

The students learned how to devise a performance based on their own assessment of social issues, and how to do this quickly!  For most of them, this was a rare opportunity to be asked their opinions on issues without authority figures demanding a set expected answer.

Week 2: Ideas in Action

From the initial group of 22 participants we selected 8 to create an original performance. The piece focussed on domestic violence, with the message that violence begets violence, and that breaking the cycle of violence in the familial context is essential in breaking the cycle of violence in society.  In countries where violent extremism is a continual problem, we find a strong correlation with the prevalence and acceptance of domestic violence.  A child who witnesses violence as a response to problems learns that violence is a valid problem-solving mechanism. The play addressed the idea that young women should make their own decisions about marriage, education, and other major life choices, rather than their parents or societal pressures.

While gender equality laws have been enacted in Azerbaijan, implementation remains poor, especially in rural areas. The youth were eager to share these stories, and to bring issues of corruption to light. The result was a brand new play, titled Moon Cycles, featuring both the students and members of Bond Street Theatre.

Week 3: Maybe Theatre
The troupe of students and actors toured Moon Cycles to five locations across the country, reaching well over a thousand people. The group even presented excerpts of the performance live on Azeri TV channel ANS TV.  After each show, we asked the audience to ask questions to characters in the play, which led to complex and insightful conversations. The actors had to respond to some challenging questions, and we observed their confidence and understanding of the material grow with each performance.

During the tour of the show, it came time to name the newly-created theatre troupe, and the name “Maybe Theatre” was suggested. Throughout the rehearsal process, the word “maybe” was used as a frequent response to suggestions. This happened often enough that it became one of the first words everyone learned in English. In a culture where learning typically does not involve open-ended questions, the name “Maybe Theatre” stuck.

The new Maybe Theatre plans to continue their work, improving and touring the show, and creating new social theatre productions. As one of the group’s members, explained: In 21 days, we experienced things we never had before. When we entered the door into the space, we really entered a different life.

Tuesday, October 20, 2015

Overcoming Differences in Kabul

Heddy, our evaluator for the Creativity in Action project, reports from Kabul, where she was inspired by the activities she witnessed and the people she met.  

I'm back in Afghanistan, but just for a very short and productive stay! Driving through the roads of Kabul to get to the BST facility was a jarring awakening. Because I arrived in the afternoon, the city was bustling. The traffic was nuts! A snapshot of the million things I saw as we drove to the office/house: random people and random bicycles fearlessly walking between cars, students holding hands and laughing as they walk home from school, young mothers and fathers with their children, an old man coaching a young man as he prepared a meal on the side of the road, a young boy tossing water out of the doorway of a bakery, and the most heartbreaking--these young street children. They tap on the windows and beg for money, some of them carry these smoking cans that are some kind of incense blessing, I think. 

Overcoming ethnic differences
When I got to the BST facility in Kabul, the house was full of young people. There were 30 youth from 2 different provinces, Badakhshan and Wardak. These two provinces are very different ethnically, linguistically, and culturally. One of the main goals of this project is to bring young people together from different parts of the country, especially from different ethnic groups that have traditionally mistrusted one another. The young people kept saying how happy they were to have met the youth from the other province. Saying things like, 'I used to think that Pashtuns were bad people--now I see they are just like me--they are my friends.' It was inspiring to hear such hopeful words in a place that can feel so hopeless at times.

During the workshop, word came that the Taliban was making gains in Badakhshan. All the parents of the youth from there were urging their kids not to come back right away. All of the youth from Badakhshan made arrangements temporarily to stay with relatives in and around Kabul. But there were a couple boys who didn't have any relatives to stay with. One of the boys from Wardak contacted his family in Kabul and arranged for the boys to stay with them. This may not sound like a big deal--but it IS! The boy from Wardak was saying that he wanted to take what he had learned from the workshop - that people from Badakhshan are good people - and share it with his family. He wanted to change the way that Pashtuns and Tajiks thought about each other, and he would start with his family. He said he knew he would be friends with some of the boys he's met from Badakhshan for the rest of his life.

Connecting with the girls 
I stayed on the third floor with the girls, a couple of whom spoke English, which was fabulous for me since my Dari, while improved, is pretty lousy. They were still impressed that I managed to squeak out a few phrases, bless them. They were very enamored with my hair and my eyes, and I was enamored with how easily they drew me into their fold. The first night was a lot like summer camp, I hung out in their room and we giggled and exchanged basic information...first and foremost, was I married and did I have children? And then of course, why not? (not so different than the US really).

One of the girls told another of the girls (who then repeated it to me), "Heddy is such a good woman. Why she is not a Muslim?" This hit me so hard. This is the question right?! All the struggles we have at home and around the world about who believes the right thing. I was so happy to play a part in sparking this question. The girl who told me this said "I don't think it's about religion. I think we have to start first with humanity." I think I actually felt my heart swell.

The program in action
Seeing the workshops with the two groups was awesome. The workshops are all led by Afghan theatre artists, so lots of theatre and improv/role-playing type activities, but the ultimate goal is to come up with a community improvement project that the youth want to implement back in their hometowns. Once they come up with a plan, they have to write an official proposal and create a budget, and they are then given a small stipend to get their project started. The young women from Badakhshan came up with a plan to create a women's gym, because there really aren't any opportunities for women to participate in any physical activities, sports, or exercise. (I gave them a couple Pilates lessons to add to their regimen.) Some other projects have included things like an education program for street children, city clean-up initiatives, and a domestic violence support group.

Things quieted down a lot after the youth left. I then switched gears to the administrative side of my dissertation research, surveys and such, not as interesting. I've been able to see a bit more of the outside world on this trip. I went with the youth on their field trip day - the national museum, the gutted Darul Aman palace, and Babur Gardens (which date back to the 1500s!). Yesterday we visited a shop inside of a guest house that typically houses people visiting with the big NGO's like World Food Program, UNICEF, etc. We had to go through three security doors and when we finally got through it was like a military compound. There were foreigners lying on the grass and playing basketball. And there was a Japanese restaurant (the tempura was not bad)... it was surreal to say the least. One big bonus of shopping there (in addition to the tempura) was that we didn't have to do all the bargaining and haggling, which always stresses me out. I'm sure we paid more for that convenience though.

The man on the left has been the groundskeeper at the Darul Aman palace since it was built in 1920!
It's been a whirlwind and a great trip. The food is still fabulous, ('teka' kebab is my fav) and the Afghan people I've had the opportunity to meet are incredibly warm and kind. And all very tired of living in a country so broken by war.


Tuesday, May 26, 2015

Inside a Women’s Prison in Afghanistan

Our work in the Herat prison began with a performance called “Backbiters”. Now we’ve begun ongoing workshops. This post from Anna delves into the prison itself and why these women are here in the first place.

The Prison
The women’s prison is in a different compound from last time we were here. Their prior location was adjacent to the men’s prison and was needed for overflow of male prisoners. (The male prison is overcrowded with more than 3,000 inmates! The women total around 140.) It’s a good thing the women moved, as there had reportedly been problems with sexual abuse by the male guards, and now the women have their own separate location with only female guards.  The new compound also looks less like a prison. Instead of being stuck within a concrete enclosure with bars on the windows and heavy metal doors, the women can move freely between the buildings and the surrounding open space of the courtyard. Laundry hangs to dry between a few trees. The women sleep in communal dorm rooms with bunk beds, colorful blankets, and television. The women do not wear uniforms as is common in American prisons; they wear personal clothing as well as jewelry and make-up. This already makes for a more humane experience. Wearing uniforms dehumanizes individuals. From what I understand, the women can spend the day as they wish, and have available various activities supported by different NGO’s – tailoring, rugmaking, hairdressing, literacy classes, and an agricultural program where they learn to plant vegetables.

We met with the director of the women’s prison, an affable but authoritarian woman in her fifties. She told us she does not want the prison to look like a prison but instead like a dormitory with supportive activities for the women. She greatly welcomed our program.

This sounds very promising, and the conditions for the women don't seem so bad. Still, it is a prison and the women do not have their freedom. They are constrained within walls and they do not have control over their own lives. Of course, for some this may not be very different than their prior circumstances: many women in Afghanistan are not allowed to leave the house and all their activities are controlled and restricted by their husband, father, or brothers. Quite often they are beaten and abused. For some, prison must be preferable to what they endured outside it. Even so, to be in prison carries stigma, knowing you have been shamed and shunned by your community and family, stamped as a criminal and punished by society. Before you were controlled by your family, now you are controlled by the state. Your life is not your own. 

The Women
Given these difficult circumstances and with little hope for the future, many of the women have become depressed, self-harming and suicidal. One day we arrived for workshop and a woman came up to us and showed us her wrist, which had two deep burn marks. She had burned herself with a cigarette. I asked, why did you do that? She said, I was so full of angry feelings! She had wanted to see the doctor and the guard wouldn’t let her. She couldn't lash out at the guard so she lashed out at herself. Our fellow workshop leader, one of the young women from Simorgh Theatre, said she felt sick when she saw the burns and she couldn’t understand how this woman could do that to herself. But in the face of such utter lack of control and power over one’s life, this is sometimes the only way a person knows to cope and manage intense feelings and distress. This is why we are doing the workshops, to give these women an outlet in which they can express their feelings – and find more constructive and creative coping mechanisms. 

It is no wonder these women are depressed and frustrated when one learns the reasons they are  in prison. Many if not most are in prison for adultery--that is, they had sex outside marriage. This is a crime in Afghanistan. A girl falls in love with a boy; they have relations; now they are both in prison. Some women run away from home. This is not a crime per se, but it is assumed that they engaged in illicit relations. It is almost impossible for a woman to prove her innocence. Upon arrest, a woman has to submit to a virginity test, an extremely violating procedure that proves nothing. And certainly not if you happen to be a married woman. In many instances, the women have engaged in sex, but whether they were truly willing is questionable. It comes down to this: if a woman wants to leave her home, she needs the help of a man. The price for this is sex.

Why does an Afghan woman feel compelled to leave her home? Usually it's because of forced marriage and abuse. Many of the women spoke of the problem of marrying too young. As I was repeatedly told, a daughter is a toy to her father and a slave to her husband. But it does happen that she runs away for love.  A 17-year old girl in the prison ran off from home with a boy she loved, but since they now agreed to marry, they will both be released. This is one story that has a happy ending, but other girls are not so lucky. The boy no longer wants them, and now they are stuck in prison. After that, where can she go? Often the family will not accept her as she has brought "dishonor" upon them and may even threaten to kill her.

Even in the case of rape, a woman will be sent to prison for adultery. Because no one believes her. It is enough to be accused of infidelity by your husband to get locked up. Many women and girls seemed to be in prison based simply on someone’s accusation. In one case, a woman was raped by her husband’s brother, but the husband accused her of having an affair. The brother fled to Iran. The woman was sent to prison. She was pregnant but the husband said it wasn't his child and divorced her. She was released after eight months. The usual sentence for adultery is 1.5-3 years.

Some of the women are in prison for murder. They killed their husbands. No doubt for many it was a desperate act. They were married off young and abused by the husband and his whole family. But in some cases, the woman loved someone else and together they conspired to kill the husband and run away. The desperation is there but the justification is sometimes questionable.

It was challenging to learn the real reasons why the women were in prison, because, we were told, the women will often make up stories until they feel safe in speaking the truth or if they think it might benefit them in some way. But I also felt it was difficult to get accurate information from those we spoke with in prison management; they seemed too ready to dismiss the women’s circumstances. But after further discussion, they acknowledged the challenge that exists for a woman to be able to prove her innocence and how often she is in a compromised situation. The system is set up to fail these women. No matter the crime or reason, the real problem is that they have very little chance to defend themselves or escape their circumstances.

The prison psychologist shared a few particular cases with us:

·         One woman killed her husband with the help of her 14-year old son, because the father was a drug addict who tried to rape their 9-year old daughter. Now both the mother and her son are in prison. The mother was sentenced to 16 years.

·         A young woman had been beaten by her father so severely in her childhood she didn’t walk until she was six years old. As she got older her father wanted to marry her off, but she refused. She put gasoline on her father and burned him. She is sentenced to 18 years.

·         The psychologist spoke to us also about kidnapping and how entire families are swept up in the crime. A father and a brother may have conspired to kidnap someone for money. The police then raid their house and arrest everyone: the mother, the daughters, the sister-in-law, the grandmother, and everyone goes to prison. There are two young women in prison now for this crime. One was jailed at age 14 and sentenced to five years.

Here are additional stories from the women we worked with:

·         “A” has been in prison two months now. She killed her father because he was forcing the mother to have “temporary marriages” with other men (that is, sex for money). Finally the daughter couldn’t take it any longer. She took her brother’s gun and shot her father. Then she went to the police and said: “I have killed my father and I am happy I did it!” She is ashamed that he was her father, and she is proud she killed him so her mother doesn’t have to be “married” to another man again. "A" has a one month old baby with her in prison. I don’t know how long she has to stay there.

·         B is a feisty and outgoing young woman of 17 years old. She had an affair with a neighborhood boy. A couple of months later she got married, but her husband discovered she was not a virgin. So she said she had been raped. Her husband wanted to kill the other boy. But the neighbor called the national army for help and said the husband had a gun and also that he and B had stolen money. The national army came and beat up the husband so he ended up in the hospital. B had an altercation with the neighbor's daughter and cut her with a knife. Everybody was arrested, including the neighbor's daughter because she knew about the illicit relation and had not reported it, and was therefore accessory to the crime. The husband has now been released as well as the neighbor's daughter, but B and the neighbor boy were just sentenced to six months in prison for adultery. A complicated situation! B has a lot of anxiety and nervous problems. But she is very enthusiastic about the workshops and fully engaged. She’s our star participant. She even stayed up one night until one a.m. teaching the others in her room all the exercises she had learned!

·         C is in her early twenties and also very excited about our workshops and a main participant. She has been in prison for 7 months and has a 10 month old daughter. Her situation is a bit unclear. She had problems with her husband, and apparently he accused her of stealing and got her put in prison. The husband has now divorced her. She is about to be released and says her family supports her. But the first day we met she said to me that she wanted to find a family to take care of her daughter and give her an education, because if the daughter was left with her father he would marry her off early as he did her. She is so inspired by the workshops that she wants to continue doing theater when she gets out.

·         D is 27 years old. She was married at 15, but the husband became addicted to opium. He would abuse her and her child. She says her father and mother-in-law encouraged their son to beat her. They accused her of having sex with other men. She is now in prison for one year. She is worried about her 11-year old daughter who is with the in-laws; they don’t let her go to school and they beat her. The daughter comes to visit the mother every two weeks and says she’d rather stay with her in prison.

·         E is in her late forties and has a young child with disabilities. She has been active in all the programs the prison offers.  E has been in the prison 10 months and is sentenced to 16 years for killing her daughter’s husband. But she says she didn’t do it. I did not get to find out further and verify her story. Perhaps she did do it, or perhaps someone else did and she got the blame. Perhaps her daughter did it and she took the blame instead. There are several situations like this where the man died and the wife gets blamed for his death. There is little a woman can do to defend herself.

·         F is 22 and recently arrived in prison with her newborn son. She got there when her baby was 10 days old. Her husband’s second wife had died suddenly, and now she and her husband were accused of killing her by the wife’s brothers. She is in prison pending investigation and autopsy, and is hoping to be cleared.

·         Then we have G who is 19 and was working as a police officer in Kabul. One day her brother called and said, “Congratulations! Your father has found a husband for you.” But she did not want to get married, she wanted to go to the university and continue her work. The family summoned her back to Herat. She met her prospective fiancĂ©, but did not like him – so she shot him. Just like that. Apparently, her father and brother often visit her in prison so it seems they have a good relationship. Why did she not simply ask them to please not make her marry? She said she doesn’t know, she just got so angry. She didn’t think the family would listen to her. She has now been sentenced to hanging. And yet she always seems to be in a good mood when we see her!

The women are very happy when we come but this does not mean they aren’t suffering. And sometimes they are just too depressed to participate. But we have to keep showing up for them -- the workshops are ongoing so that they will have this support available for a long term.

The Children
As mentioned, the women have their children with them in prison. Children stay with their mothers until the age of 5, when they are placed in a child support center run by a non-profit. We visited and will be doing workshops there as well. It’s a good place and the children genuinely seem well-cared for. This is really encouraging to see. They get to visit their mothers every two weeks or so. The smaller kids who are with the mothers in the prison get sent to a kindergarten every day, where government employees’ children go. This is also a new development and did not exist four years ago when we last visited, as far as I know. It’s really good that the children can be with their mothers, but it is important that they are not stuck inside the prison all the time and can socialize with other kids. There are about 75 children living with their mothers in the prison. One girl was seven years old, but otherwise mostly toddlers and babies. We had several crawling around us as we did our workshop. The women are help each other take care of the babies, so the mothers can participate. 

Stay posted for further updates about the juvenile center and our other performances!