Radio Soap Operas

for Peacebuilding
a guide
Part 2

Jon Hargreaves and Francis Rolt

 Contents

How to use this guidebook ......................................................................1-26

Facilitators’ Manual ................................................................................1-174

Background Briefings for Facilitators.....................................................1-48

Documents for Facilitators.......................................................................1-17

Handouts for Participants ........................................................................1-14

Participants’ Workbook ..........................................................................1-117

HOW TO USE THIS GUIDEBOOK
Radio soap operas for Peacebuilding – Part 2

1
 Table of contents

I. FACILITATOR’S GUIDE.......................................................................3

II. CHECKLISTS FOR PLANNING YOUR COURSE..............................10

III. WELCOME KIT...................................................................................17

IV. WELCOME LETTER...........................................................................18

V. SUGGESTED PROGRAMME SCHEDULE ........................................20

VI. DOCUMENTS AVAILABLE................................................................21

VII. COURSE EVALUATION REPORT SHEET ........................................24

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 2

I. FACILITATOR’S GUIDE

1. INTRODUCTION
This manual is for the facilitators of a course to train people to write serial radio
dramas, or ‘soap operas’, for conflict transformation.

1.1 Who can facilitate this course?

Ideally the person who facilitates the training should have a background in
conflict transformation and serial radio drama, as well as some experience in the
training of adult learners. However, the manual and support material has been
written in such a way that a person with good communication and leadership
skills can facilitate the course by following the learning plans.

1.2 Who developed the course?

The course was developed in partnership between the resources and expertise of
Search for Common Ground (SFCG) in Brussels and Health Communication
Resources (HCR) in Perth, Western Australia. It draws heavily on the work of
entertainment-education practitioners around the world. The course builds on the
work of story telling and drama for health and social development done by Esta
de Fossard at Johns Hopkins University. It was further influenced by the work of
both Pam Brooke and of Turan Ali.

SFCG has been working in conflict resolution for more than 20 years, using both
classic methods of conflict resolution, such as facilitation and mediation, as well
as innovative methods such as radio soap opera, TV shows, etc. SFCG
develops media projects to help transform societies in different stages of conflict,
from Africa to the Balkans. One of the most notable of these projects is “Our
Neighbours Ourselves”, a popular radio soap opera in Burundi, which reached its
five hundredth episode early in 2003.

HCR has been involved in training people in many different countries to use the
media for health promotion and social development. The training design
developed by HCR’s founder Dr. Ross James, over the past 15 years, is ideally
suited to cross-cultural settings and different learning styles. The HCR learning
model is the engine that drives the design of the manuals you will be using for
this course.

This manual was co-written by Jonathan Hargreaves and Francis Rolt, with
editorial support from Ross James and Francis Rolt. The Conflict Transformation
units were largely written by Eva Dalak of SFCG,. The audio examples were written
by Adolphe Ntibasharira, and recorded at SFCG’s Studio Ijambo in Burundi. Amanda
J. Oefelein worked on producing a version fit for publication.

1.3 Aims and objectives of the course

The main objective of the course is for the participants to understand the
principles of good entertainment-education and to develop skills in writing serial
radio drama. The implementation of what is learnt will help reduce the likelihood
of violent conflict and ultimately build capacity for peace. "Edutainment" (a

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 3

contraction of entertainment and education) radio is a very powerful form of
communication that motivates while entertaining, creates bonds among
community members, and sets a social agenda, while telling a story people want
to hear.

The ultimate aim of edutainment is to influence people to change their

behaviour.

By the end of the course participants will be able to:

Describe the differences between a radio play, a situation series and a

serial radio drama (soap).

Explain the differences between edutainment and entertainment.

Describe the role of radio soaps in the process of social change.

Locate where the script writer fits into the process.

Describe key conflict transformation issues.

Integrate objectives of the concept document into drama development.

Demonstrate understanding of the concept document.

Formulate intended outcomes for episodes.

Write plot outlines and sketches that conform to the intended outcomes in
the concept document.

Develop appropriate characters for a radio drama.

Develop appropriate settings in time and place for a radio drama.

Maintain consistency in drama through the use of character diaries and
location maps.

Incorporate serial drama techniques, which build listener loyalty.

Write radio drama scripts based on listener-learning principles and
priorities.

Use sound effects and music in drama scripts in practical and effective
ways.

Research the language, idioms and stories of the target audience.

Work in a script writing team and experience tag team writing.

Format a drama script correctly.

Conduct peer group review of serial radio drama scripts.

Describe the process of pre-testing serial radio drama scripts with a target
audience.

2. TRAINING METHODOLOGY

The course is designed to run over ten working days, during which a facilitator
takes a group of learners through the learning process, identifying key messages
for the “target” audience, recognising the value of “edutainment-type”
programming, making programmes with intended outcomes, developing
characters, plots, and scripts, and finally writing the soap opera.

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 4

The course has been designed in a facilitated, workshop format, which uses the
following principles of adult learning:

Learners need a learning method that accommodates their life experiences

Learners need to be respected for the experience and knowledge they
bring to the learning environment. Affirmation of the learner’s efforts is an
important part of this process.

Learning is more than acquiring knowledge; it is also about developing
appropriate attitudes and skills. Each session will give opportunity for
interaction and application, allowing plenty of time for discussion,
brainstorming and participation in activities.

Learning begins with what the learner knows and moves to what needs to
be known.

Learning is enhanced if more than one of the five senses is engaged;
therefore, each session makes use of different media and activities to vary
the learning experience.

Learners have different preferred learning styles, therefore sessions use a
variety of different techniques to maximise the learning experience – these
include brain-storming, case studies, discussions, group interaction
activities, problem solving activities and lecture format.

Reinforcement is another basic principle for adult learning, so the learning
design has a number of intentional reinforcement tasks for the learners.

Every effort has been made to make the learning experience an interesting
and enjoyable one.

The learning process is constantly being evaluated and monitored by the
facilitator who is able to make adjustments to meet the needs of the course
participants.

3. DELIVERY

3.1 Monitoring and Evaluation

Throughout each learning plan you will see a sign labelled
Quality Check,
with a number of questions posed to both facilitators and learners. This provides
an opportunity for the facilitator and participants to reflect on and evaluate the
learning process. The questions serve as a guide and do not necessarily need to
be verbalised (but they do need to be monitored visually). They should help the
facilitator to adjust content and activities in the learning plan, if required.

3.2 Brainstorming
During the course there will be many opportunities to brainstorm. This is an
important activity as it gives participants the opportunity to pool their ideas
without analysis or criticism, enabling them to think through problems creatively.
Before brainstorming set some ground rules:

All suggestions are equally valid. There are no wrong answers and no one
is allowed to make judgmental comments about another person’s
contribution (no matter how ridiculous it may seem).

Appoint a scribe (this could be the facilitator or one of the learners), who
will write down every idea as it is shouted out.

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 5


Don’t get bogged down in detailed discussion of ideas during the
brainstorm. This will slow things down – you can always return to discuss
issues later.

Don’t stop the brainstorm too soon. Encourage participants to keep
thinking until they have exhausted all the ideas.

3.3 Facilitating discussions

Most activities in the course will involve discussion of some kind - either as the
main activity or as a way of summarising and reviewing what was learned.

In the case of entire group discussions, keep in mind the following:

Arrange the seats for maximum participation and eye contact. The
horseshoe shape is quite useful. AVOID having the learners seated in
rows, as this will limit the amount of interaction.

Develop a strategy for dealing with overly dominant participants. Try the
"boomerang technique", so that if one person keeps dominating,
boomerang the issue back into the rest of the group: "What do others
think?" If this doesn't work, remind the overly dominant participant of the
ground rules.

Encourage participants to have eye contact and speak confidently so that
everyone can hear.

Remember different cultures have different ideas about how training should
take place (e.g. the teacher dispenses knowledge, the way men and
women should interact, the role of age in the group). For this reason
clearly state at the beginning your expectations from the group, and lay
them out in the "ground rules".

Never put someone under pressure to speak in front of the whole group if
they do not want to. Gently invite quiet participants to speak, but do not
insist if they are reluctant. When quiet people are in the session, plan for
more small group discussion, where they may feel more comfortable to
contribute.

If someone changes the topic, stop him/her before going too far. Check
with the whole group whether they are willing to discuss the issue now, or
whether they would like to schedule it later.

Be strict in keeping time.

If there are small group discussions, vary the groups so that people get to
work with different people at different times.

Suggest groups choose a facilitator and person to report back on their
discussions.

Walk around during group discussions, to help if needed, but do not
interfere with the group process.

When groups report back, avoid them duplicating the same information. If
more than one group is reporting back on the same issue, ask them to only
add new information.

3.4 Ice-breakers and energisers

It's particularly helpful to have short "ice-breaker" activities (approximately 5
minutes) to start the day, and energisers that help vary the tempo and add variety
to a programme. Attached to this guide are some suggestions for ice-breaker
and energiser activities.

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 6

3.5. Time
The time allocated at the top left hand column for each activity is a guideline only.
You may even wish to drop activities if you feel the participants are already
competent in that area. Being flexible and constantly aware of the needs of the
learners is a key to this course.

4. MANAGING THE COURSE

4.1 Welcome kit

Every participant should receive a welcome kit and letter. Provided with the
facilitator's guide is a checklist of things that should be included in the welcome
kit, along with a template letter which can be adapted for different locations and
translated.

4.2 Manual Layout

Each unit comprises a facilitator’s manual and a workbook, which will be given to
participants. The facilitator’s manual is made up of different activities, which
guide the learning process, as in the diagram below. The right hand column
gives the facilitator instructions on what to do. The left hand column gives a
suggested time frame for the activity, the resources that are required and any
additional information which will help.

Notes to Facilitator Learning Activity 1

Suggested Name of
duration of Duration: 20 minutes Introductions activity
activity
Resources • Have introductory slide
• OHP_Introduction (OHP_Introduction) Instructions
Resources showing as participants to facilitator
• Welcome Kit enter room and
Required
throughout introductory
Suggested introduction (ice- session.
breaker): Get people to talk in
pairs or threes introducing • Welcome participants
themselves. Each person has a and check they have
minute (timed by the facilitator) to contents of welcome kit
Additional
tell their partner(s) their name, (see checklist) and are
notes to wearing their
occupation, where they are from,
facilitator and something interesting about nametags.
themselves). Each partner then
has a minute to introduce the • Spend the first few
other. See the Facilitator’s guide minutes on
about ice-breakers and introductions (see
energisers. notes).

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 7

4.3 On the CD
On the root directory of the CD you will find 25 folders labelled from “00-Admin” to
“24-Closing session”. The folder “00-Admin” contains the files you will need to
manage and administer the course, including checklists, schedules, a welcome
letter, signs and some useful additional resources. The remaining numbered
folders, 01-24, correspond to the unit numbers in the course schedule. The
number denotes the unit number, followed by the unit title. These folders contain
the resources that you need for each unit, such as audio files, overhead slides
etc. The naming convention of the files is as follows:

Facilitator’s manual (Manual_unitname)

Participants’ workbook (Workbook_unitname)

Overhead or PowerPoint slides (OHP_name)

Background briefings for the facilitator (Brief_name)

Handouts for participants (Handout_name)

Audio files (CD_name)

4.3 Hardware resources needed

Name tags

Flip charts, markers, and tape

CD player or computer to play audio samples

Overhead projector or computer projector for PowerPoint slides

4.4 Optimal group size

The activities have been designed with a group of about six to twelve participants
in mind. If your group has fewer than six participants, we suggest you do most of
the activities as a whole group rather than breaking into smaller groups.

4.5 Being organised

The success of every course depends on how well it is organised. Included in
the administration folder on your CD are a number of checklists to help you
prepare for today, organise for tomorrow and follow up on yesterday. These
checklists have been developed over 15 years of running training courses by
Health Communication Resources.

4.6 Course certificates

Upon successful completion of the requirements of the course (including all the
assignments to satisfactory standard) a certificate of competency in writing serial
radio drama for conflict transformation will be issued by Search for Common
Ground, if desired.

4.7 Terminology
Terms can be very confusing, especially when it comes to the study of conflict,
with different terms meaning different things to different people. In this manual
we have deliberately used the term conflict transformation. We define the term
as a process, which aims to shift how individuals and communities view and deal
with their differences away from adversarial win/lose approaches toward

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 8

collaborative problem solving. Throughout this course we will use “soap opera”
or “soap” interchangeably with serial radio drama. The term soap opera was
first used in the USA in the early days of radio drama, when big American soap
manufacturing companies (such as Lever Brothers) sponsored sensational
serials that were likened to classical opera. One other term that we use
frequently in the manuals, which we’ve already defined in 1.3 above, is
“edutainment”. If you read other literature on the subject you may also see it
called “enter-education”, or even ‘EE’.

5. FEEDBACK

These manuals are a work in progress and will only improve as we get feedback
from the field. Please take the time to fill out the facilitator’s evaluation form
attached to this document to let us know how the course ran - what worked and
what didn’t, what’s missing and what needs to change. You may send the form
as an e-mail attachment to any one of us at the e-mail addresses given on the
form.

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 9

II. CHECKLISTS FOR PLANNING YOUR COURSE

Planning tools will help you to prepare for today, organise for tomorrow and
follow-up on yesterday! In this section are nine checklists or resources:
1. to promote a course
2. to register participants
3. to confirm registration
4. to prepare for a course
5. to build a folder for participants
6. to write a welcome letter to participants
7. to coordinate a course
8. to monitor participants’ assignments
9. to schedule administrative and organisational tasks

a) Promotion
Creative brochures, flyers, e-mails or letters of invitation attract attention.
Promotional materials should be comprehensive enough to help someone
decide whether they will or will not attend the course.

State the course aim and list the learning goals

Explain how the course will benefit the participants in their work or career

List the topics to be covered in the course

Mention the requirements for completing assignments

Explain the certificate they will receive

Profile the facilitators

Identify the agency or department organising the training

Give the dates and location of the training

State the final application date

Mention daily starting and closing times

State the all-inclusive course fees and what they cover

Identify any participant costs not included in course fees

Mention the accommodation options (Is accommodation provided? Are the
rooms on a single/share basis? etc.)

Mention brief details of any available recreational facilities or planned
leisure activities

Give your contact details for those who want more information

In cross-cultural contexts, specify the language in which training will be
conducted and the competence level required in that language

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 10

b) Registration
A registration form is more than a device for registering participants. Use it to
maintain a mailing list for future training. Customise the following checklist to
your requirements.

Give people options for further contact. One item could be: “I cannot
attend this course, but keep me on your mailing list for future courses.” A
second option might be, “Please remove my name from your mail list” and
a third item: “I suggest you send information to this person ……… at this
address …….)

Person’s name

Space for correct title (Mr., Mrs., Ms., Dr., etc)

Name of organisation

Work address, telephone, fax or e-mail information

Position held/type of work

Specific skills the participant is interested in learning

Request details of special needs (e.g., disabilities, diet, accommodation,
etc.)

Explain what the course fees cover and any costs that participants will be
responsible for

Payment instructions. Is a deposit required? Is there a discount for early
registration? What credit card options are available? To whom should
any cheque be payable?

Space for applicant’s signature and date

Name and contact details of course registrar

Final date for the application to be submitted

c) Confirmation of registration
If this is the final communication with participants before the course, include
any information that will ease the arrival of participants.

State the latest date and time by which participants should arrive

Give clear directions and instructions to get to the training facility (Insert a
map and any applicable public transport details)

Attach a schedule for the first session (e.g., welcoming ceremony or
opening session)

Repeat the dates of the training and daily session times

In a personal note, acknowledge special accommodation or dietary
requirements requested by individuals

Repeat information about what the course fees cover and extra, personal
costs

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 11


Advise of special equipment, information or other items needed for course
sessions or a project

Advise of special clothing for expected weather patterns during the course,
or equipment needed for leisure/sports facilities available at the training
location

Remind participants of the name and contact details of the course registrar

d) Pre-course preparation
Before the course, monitor the state of readiness. Add any items specific to
your situation to the following checklist:

Select and confirm the training facility. Is the training room large enough
and suitable for the expected number of participants? Is there enough
space for small group discussion or activities? Are participants with
special needs catered for (e.g., disabilities, diet, etc.)?

Organise a registration desk and attendant to meet participants

Provide a receipt book to receive payment from participants

Make a participants’ folder (see below)

Position signs to direct participants to the training room and other facilities

Clearly sign parking areas

Notify and brief the guest speaker for the opening session

Gather the background information you need to introduce guest speakers

Confirm and brief other speakers or resource persons

Are gifts, honoraria or payment of a fee to be given to speakers and
resource persons? If so, purchase gifts or organise payments

If a cross-cultural course, brief interpreters and organise and complete
translation of materials

Organise services for participants such as communications (mail,
telephone, fax or e-mails); exchanging foreign currency; leisure activities
and recreational opportunities

Establish procedures for personal welfare (e.g., first aid or medical
assistance; personal security or safety precautions; procedures for fire or
other emergencies). In some situations, security arrangements may be
necessary for participants. A colleague in Israel had to obtain security
clearance and permits for Palestinian participants, and police escorts
accompanied Israelis travelling to Palestine

Decide course policies (e.g., relating to smoking, alcohol, receiving
visitors, absenteeism, etc.)

Organise refreshments

Arrange seats and tables

Check that training room lights and cooling (or heating) units are working

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 12


Organise decorations (flowers, banners. etc.)

Assign staff to their administration tasks

Clean training rooms and other amenities

Supply garbage/trash cans in the training room

Supply jugs of water and glasses for participants, as well as facilitator, and
put sweets on participants’ tables

Obtain all necessary supplies (e.g., adhesive tape, stapler, paper clips,
scissors, paper-punch for handouts, Post-it® pads, note-paper, etc.)

Erect a notice-board or display for announcements or other materials

Organise handouts and order them into a sequence for distribution

Organise flipcharts. Are the marker pens fresh and working? (Also for
whiteboard/marker pens or chalkboard/chalk)

Set up audio-visual equipment and check they are in working order (e.g.,
overhead projector, sound/amplification equipment, cassette players,
video etc). Familiarise yourself with all equipment. Rehearse audio-visual
presentations

Make a list of participants, their organisations and the position they hold

If a residential course, make a list of the rooms participants are allocated
to and post it on a notice board

Pay a courtesy call to key line-management

e) Participants folder
Each participant and facilitator will receive a folder or file to hold notes and
handouts. In your situation, is it convenient to distribute this folder in the first
session, or leave it in the participant’s room to be read upon arrival? The
folder should contain:

A welcome letter (see suggestions below)

A name tag

A course schedule

A pen and paper

A small gift

Promotional or information brochures from partner agencies

An Assignment Log (see below)

A list of participants and the organisations they represent

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 13

f) Welcome letter
A letter inserted into the participant’s folder might contain:

A description of the course, a course aim, and learning goals

The names of administration staff

A brief profile of facilitators

A brief explanation of the course schedule

Expectations of assignments

Information about any course awards that may be given out and what
participants will need to do to earn them

Information about available facilities (e.g., communications such as mail,
telephone, fax or e-mails; exchanging foreign currency; leisure activities
and recreational opportunities

Matters of personal welfare (e.g., first aid or medical assistance; personal
security or safety precautions; procedures for fire or other emergencies)

Course policies (e.g., smoking; alcohol; receiving visitors etc)

g) In-course coordination
A course coordinator is kept occupied with a myriad of daily administrative
and organisational tasks. At the minimum:

Schedule a daily review of the course with staff and facilitators

Organise yourself to be at least a day ahead on photocopying and the
preparation of other instructional resources and handouts (do you need a
Training Tracker or similar? see below)

Check that co-facilitators are prepared for their sessions

Plan ahead for organisation of speakers, certificates, etc.

Check that individual participants are turning in their assignments on time -
don’t allow any participant to lag behind with uncompleted assignments

Talk to participants who seem to be having difficulty

At the conclusion of each day: re-organise chairs and tables; generally tidy
up the training room; clean whiteboards and post any flipcharts on walls,
so you are ready for the following day

At the beginning of each day check that all equipment is working and
finalise that day’s resources

Monitor the cleanliness of rest rooms/toilets and other facilities

As and when appropriate, pay a courtesy call to key line-management and
update them on the progress of the course

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 14

h) Assignment log
An Assignment Log for each participant is a simple method for maintaining
records of completed assignments. All that is needed are spaces for the
participant’s name, the assignment and the assessment. The facilitator can
write further comments at the end of the course and send the log to the
participant’s supervisor. Discuss comments with the participant and obtain
the participant’s signature before submitting the log to the participant’s
supervisor. Be sure to give a copy to the participant.

Name: ________________________

Assignment Name Assessment



Final Comments from Facilitator (Completed after the course)

Attitude

Overall
competence

Special strengths

Areas for
improvement

Recommendations

_________________ _________________
Facilitator’s signature Participant’s signature

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 15

i) Training tracker
Tasks can easily get on top of even the most organised facilitator. I use a
Training Tracker to reduce last-minute panic. One column is for recording the
day a required action is to be taken and another column is to list jobs to be
completed. The final column contains a note of when the item or action is
required.

Today … … do this … … for this day

Check all equipment
Monday Photocopy Welcome Tuesday (Day 1)
Letters
Tuesday
Set up projector Wednesday (Day 2)
(Training Day 1)
Wednesday Confirm Guest Closing session Friday
(Training Day 2) Speaker (Day 4)
Etc. Etc. Etc.

Summary
Organisation and attention to detail are necessary ingredients for a smooth
training course. This section presented nine survival tools, checklists and
other resources to: promote a course, register participants, prepare for a
course, compile a folder for participants, write a welcome letter to participants,
coordinate a course, monitor participants’ assignments and track daily tasks.

Reference:

James, R., 2000, The Transitional Learning Model, VET, Perth:WA, pg.111-118.

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 16

III. WELCOME KIT

The purpose of this document is to explain what should be put into the
Welcome Kit.

Usual things to consider:

Each participant and facilitator will receive a folder or file to hold notes and handouts. In your
situation, is it convenient to distribute this folder in the first session, or leave it in the
participant’s room to be read upon arrival? The folder should contain:

A welcome letter (see suggestions below)

A name tag

A course schedule

A pen and paper

A small gift if appropriate

Promotional or information brochures from partner agencies

A list of participants and the organisations they represent

Anything else specific to your situation (see suggestions below)
1. Reader

2. Workbook

3. Welcome letter
A letter inserted into the participant’s folder might contain:

A description of the course, a course aim, and learning goals

The names of administration staff

A brief profile of facilitators

A brief explanation of the course schedule

Expectations of assignments

Information about any course awards that may be given out and what participants will
need to do to earn them

Information about available facilities (e.g., communications such as mail, telephone, fax
or e-mails; exchanging foreign currency; leisure activities and recreational opportunities

Matters of personal welfare (e.g., first aid or medical assistance; personal security or
safety precautions; procedures for fire or other emergencies)

Course policies (e.g., smoking; alcohol; receiving visitors etc.)
4. Problem flowchart
On coloured paper (inform participants this is meant to be light-hearted!! -- some have taken it
seriously!!)

5. Quotations or Proverbs (or another motivational piece that you find) on coloured paper.

6. Do participants need maps, special instructions, vouchers for meals etc?

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 17

IV. WELCOME LETTER

How to Write a Radio Serial Drama for Conflict Transformation

Date

Health Communication Resources and Search for Common Ground

1. Welcome!
Many people in fields related to human and social development use stories and dramas to
bring specific issues and information to public attention. In fact, for centuries stories have
been used as an effective teaching tool to bring about social change. A story told around the
cooking fire, for example, can be simultaneously entertaining and educational, as well as
being a source of news or information. "Edutainment" (a contraction of education and
entertainment) radio is a very similar concept. It is a powerful form of communication that
motivates while entertaining, creates bonds among community members, and sets a social
agenda, while telling a story people want to hear. And that is why you are here.

This course is designed to provide potential script writers the opportunity to develop skills in
writing serial radio drama or soap operas, which will impact their communities to reduce the
likelihood of violent conflict and ultimately build capacity for peace. Thank you for the
opportunity for Health Communication Resources (HCR) and Search for Common Ground
(SFCG) to be a part of your work.

2. Faculty
The core resource people are …names of faculty

3. Course description
The ten-day course will provide a theoretical overview of conflict transformation,
communication strategies for behaviour change as well as competencies for writing a serial
radio drama for conflict transformation. Topics will include: intended outcome radio
programming; the theory of edutainment: the script writing process including plots, character
development, maps, summaries and cliff-hangers; developing appropriate messages; listener-
learner strategies; foundational skills in writing radio scripts; pre-testing and evaluation.
During the course participants will have the opportunity to develop their own drama serials
with appropriate conflict-transformation themes for the target audience, clearly defined
objectives, a story plot and character profiles.

4. Course objectives
By the end of the course participants will be able to:

• Describe the differences between a radio play, a situation series and a serial radio
drama (soap).
• Explain the differences between edutainment and entertainment.
• Describe the role of radio soaps in the process of social change.
• Locate where the script writer fits into the process.
• Describe key conflict transformation elements.
• Integrate objectives of concept document into drama development.
• Demonstrate understanding of the concept document.
• Formulate intended outcomes for episodes.
• Write plot outlines and sketches that conform to the intended outcomes in the concept
document.
• Develop appropriate characters for a radio drama.
• Develop appropriate settings in time and place for a radio drama.
• Maintain consistency in drama through the use of character diaries and location maps.
• Incorporate serial drama techniques, which build listener loyalty.
• Write radio drama scripts based on listener-learning principles and priorities.

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 18

 • Use sound effects and music in drama scripts in practical and effective ways.
• Research the language, idioms and stories of the target audience.
• Work in the script writing team and experience tag writing.
• Format a drama script correctly.
• Conduct peer group review of serial radio drama scripts.
• Describe the process of pre-testing serial radio drama scripts with a target audience.

5. Schedule and methodology

Note that because this is an adult learning course, our schedule is currently detailed enough
to meet the set goals and objectives but flexible enough to make changes for other learning
needs you identify. We all learn differently. There will be theory and reflective times for those
who prefer to learn that way. In general, we will use workshop methods with practical
training.

7. Assignments and Awards

Congratulations! You have already been awarded your certificate! No one will fail. Intensive
tutorial assistance will ensure you reach the required performance standard for assignments
and required activities. The assignments include take-home readings and script writing
requirements.

We warmly welcome you and look forward to working and learning with you.

Signature
Course facilitator

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 19

V. SUGGESTED PROGRAMME SCHEDULE

DAY UNIT UNIT THEME

NUMBER
ONE 1 Introduction
2 Where the scriptwriter fits
3 Write for radio final
4 Drama for social change
TWO 5 Basic conflict transformation issues (Conflict transformation 1)
6 Concept document
THREE 7 Researching the audience
FOUR 8 Practical conflict transformation (Conflict transformation 2)
9 Theory of Soap
10 Plots and Characters
11 Episode Plot Summary
12 Script Outline by Scenes
FIVE 13 Practical conflict transformation (Conflict transformation 3)
14 Elements of Good Soap
15 Listener learner
SIX 16 Practical conflict transformation (Conflict transformation 4)
17 Intended Outcomes
18 Sound
SEVEN 19 Practical conflict transformation (Conflict transformation 5)
20 Script Writing Team

PRACTICAL

EIGHT 21 The Programme Evaluation Planning Meeting (PEPMeet)

PRACTICAL

NINE PEPMeet of previous day’s activity

PRACTICAL

TEN PEPMeet of previous day’s activity

22 Pre-testing
23 Tag Team & next steps
24 Closure, certificates, evaluation

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 20

VI. DOCUMENTS AVAILABLE

00 – Admin • Course Schedule Checklists to plan

your Course
• Course evaluation Report Sheet
• Facilitator’s Guide
• Welkom kit
• Welkom letter

01 - Introduction • Workbook
• Manual

02 – Where scriptwriter fits • Workbook

• Manual
• Brief – Job descriptions
• Brief – P-process
• OHP – P-process
• OHP – Overview

03 – Write for radio final • Workbook

• Manual
• Doc – Trouble in Hilastan
• Brief – S&W

04 – Serial Radio drama for social change • Workbook

• Manual
• Brief – Albert Bandura
• Brief – Sabido Method
• Brief – ZPD
• Handout – Soap Opera
• OHP – ZPD

05 – Conflict Transformation 1 • Workbook

• Manual
• Brief – Approaches
• Brief – Conflict circles
• Doc – Chinese proverb
• Doc – Impact on relationship
• Handout - Common Responses to
conflict
• Handout – Conflict pattern
• Handout – Conflict scenario

06 – Concept document • Workbook

• Manual

07 – Researching the audience • Workbook (A & B)

• Manual
• Brief – Conflict environment
• Brief – Rules of Observation
• Brief – Target audiences

08 – Conflict Transformation 2 • Manual

• Brief – Analysing conflict
• Handout – Boxes
• Handout – Positions v Interests
• Handout - Triangle of Positions and

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 21

 Interest
• Handout – VaseFaces
• Handout – Woman old young

09 – Theory of Soap • Workbook

• Manual
• OHP – Hear and Forget

10 – Plots and Characters • Workbook

• Manual
• Handout – Sample Character
• OHP – Brainstorming Rules

11 – Episode Plot Summary • Workbook

• Manual
• DOC – Episode Plot Summary

12 – Script Outline by Scenes • Workbook

• Manual

13 – Conflict Transformation 3 • Manual

14 – Element of Good Soap • Workbook

• Manual
• Brief – elements of good soap
• OHP – Dramatic conflict
• OHP – Levels of tension and conflict
• OHP – Soap essentials

15 – Listener Learner • Workbook

• Manual
• Brief – Behaviour Change Steps
• Brief – Constructivist Theory
• Brief – Landmarks
• DOC – Our Neighbours Ourselves
• Handout – Communication Process
• Handout – Listener Learner Theory
• OHP – Behaviour Change Steps
• VID – Nashe Maalo

16 – Conflict Transformation 4 • Manual

• Handout – Perceptions
• Handout – Principles

17 – Intended Outcomes • Workbook

• Manual
• Brief – Characters
• Brief – Neighbours
• Brief – Plots
• CD – Neighbours 8
• OHP – Brooke
• OHP – Cutler New

18 – Sound • Workbook
• Manual
• Brief – Music
• Brief – SFX
• OHP – Music
• OHP – SFX

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 22

19 – Conflict Transformation 5 • Manual

20 – Script Writing Team • Workbook

• Manual

21 – PEPMeet • Workbook
• Manual
• Brief – PEPMeet
• DOC – Bundle of Sticks
• DOC – Safe and sound

22 – Pre-testing • Workbook
• Manual
• CD – Atunda Ayenda

23 – Tag team & next steps • Workbook

• Manual
• DOC – Tag Disaster
• OHP – Teamwork

24 – Clossing Session • Manual

• DOC – Course evaluation form

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 23

VII. COURSE EVALUATION REPORT SHEET

PURPOSE
Please complete the evaluation form below and email either to
Ross James: rjames@h-c-r.org, or Francis Rolt: francis.rolt@sfcg.be.

Use this report to note important points that will assist you in planning the course again, next
time, and also assist the course designers to improve the course for others.

1. INTRODUCTION

a) Name of person compiling this report and date compiled

b) Name of your agency

c) Names and details of other collaborating agencies that partnered with you in this course

d) Course location

e) Dates of course

2. BACKGROUND
a) Provide a brief background, explaining the reasons why the course was organised and
delivered in this particular situation. Note any other relevant background or explanatory
information.

3. IMPORTANT OUTCOMES
a) List and explain impacts or outcomes that were the result of the course (e.g., agencies that
have decided to collaborate or network as a result of meeting and sharing at the course.
There is another section later for learning outcomes of the participants).

b) Tell us any interesting stories about people who attended the course or events or activities
that occurred during the course.

4. SUMMARY OF COMMENTS MADE BY PARTICIPANTS

This is a copy of the evaluation form that was completed by the participants. Use the second
column to transfer all of the comments from the individual forms. Use the third column to write
your response to, or observations of, what the participants said for each question

Responses given by Your observations or

Questions participants comments on those
responses
1.

1. List three things you learnt 2.

in this course.
3.

2. How will your learning help

you in your work?

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 24

3. What plans do you have
for implementing your
learning in the next 12
months?

4. What topics in this course

were not relevant to you?

5. What other topics should

have been included in this
course (but were left out)?

6. What did you particularly

enjoy about this course?

7. What did you particularly

NOT enjoy about this
course?

8. Please finish the following

sentence: “Overall, the
course was satisfactory, but
the next course could be
improved by…”.

9. What other training

courses do you suggest we
consider providing?

10. If you know others who

might like to receive
information about the next
course please write their
name and mailing address.

11. If you require further,

individual advice, training or
assistance, please speak to
us before departing from this
training course, or contact us
later at your convenience. If
you prefer we can contact
you, we will need to know
your
name…………………………
…….

12. Any other comments?

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 25

5. YOUR IMPRESSIONS
Comment on the following and recommend action for next time — particularly if any difficulties
need to be resolved.

Participants
• How many?

• What organisations did they represent?

• Have you sent a letter of thanks to the management/supervisor of each participant?

• Recommendations:

Facilitators
• List their names and comment on how they performed as facilitators.

• Recommendations:

Schedule and Design

• Recommendations:

Facilities and Equipment

• Recommendations:

Course Content

• Recommendations:

Instructional Resources and Materials

• Recommendations:

Administration staff

• Recommendations:

Organisation

• Recommendations:

Follow-up or further training for this agency

• Recommendations:

6. CONCLUSION
• What are you concluding remarks?

ADMINISTRATION FOR FACILITATORS @ HCR/SFCG 26

FACILITATORS’ MANUAL
Radio soap operas for Peacebuilding – Part 2

1
 Table of Contents
Unit 1 – Introduction ................................................................................................... 3

Unit 2 – Where scriptwriter fits ................................................................................... 8

Unit 3 – Write for radio final...................................................................................... 15

Unit 4 – Serial Radio drama for social change ......................................................... 27

Unit 5 – Conflict Transformation 1............................................................................ 34

Unit 6 – Concept document...................................................................................... 38

Unit 7 – Researching the audience .......................................................................... 52

Unit 8 – Conflict Transformation 2............................................................................ 63

Unit 9 – Theory of Soap ........................................................................................... 68

Unit 10 – Plots and Characters ................................................................................ 72

Unit 11 – Episode Plot Summary ............................................................................. 77

Unit 12 – Script Outline by Scenes........................................................................... 81

Unit 13 – Conflict Transformation 3.......................................................................... 85

Unit 14 – Elements of Good Soap............................................................................ 88

Unit 15 – Listener Learner........................................................................................ 98

Unit 16 – Conflict Transformation 4........................................................................ 115

Unit 17 – Intended Outcomes ................................................................................ 117

Unit 19 – Conflict Transformation 5........................................................................ 136

Unit 20 – Script Writing Team ................................................................................ 140

Unit 21 – The PEPMeet ......................................................................................... 146

Unit 22 – Pre-testing .............................................................................................. 155

Unit 23 – Tag team and next steps ........................................................................ 163

Unit 24 – Closing Session ...................................................................................... 170

2
Unit 1 – Introduction

Purpose
This 90 minute unit should be regarded as an overview of the workshop. The unit
includes: an introduction of participants and facilitators, an introduction to serial
radio drama, an overview of the work of Search for Common Ground, and an
introduction to ground rules and housekeeping. It also provides the facilitator
with an opportunity to make a preliminary assessment as to the needs and
abilities of the participants.

Resources
• Welcome kit (including course schedule)
• Workbook
• Prepared flipchart
• OHP_Introduction
• Flip charts, markers, and tape

Unit objectives
By the end of this unit participants will:

• Be able to identify the names of fellow participants and facilitator(s)

• Be able to state the purpose and direction of the workshop
• Be able to describe their expectations and the expectations of the workshop
facilitator(s)
• Be able to identify the role of serial radio drama in conflict transformation and
the work of Search for Common Ground in that process
• Be able to set personal goals

Duration: 90 minutes

3
Notes to Facilitator Learning Activity 1
Duration: 20 minutes Introductions

Resources
• OHP_Introduction • Have an introductory slide
• Welcome kit (OHP_Introduction) showing as
participants enter the room and
Suggested introduction (ice-breaker): throughout the introductory
Get people to introduce themselves in session.
pairs. Everybody will have one minute
(timed by the facilitator) to tell their • Welcome participants and check
partner their name and occupation, that they have the contents of the
where they are from, and an welcome kit (see checklist), and
interesting fact about themselves. are wearing their nametags.
Each partner then has a minute to
introduce the other. See the • Spend the first few minutes on
Facilitator’s guide about ice-breakers introductions (see notes).
and energisers.

Notes to Facilitator Learning Activity 2

Duration: 15 minutes Ice-breaker: Heroes and
Villains
• Put participants into small groups
Resources or pairs.
• Flip chart, markers, and tape
• Ask participants to create their
ideal villain and their ideal hero.
Then ask them to discuss people
who have inspired them to deal
with conflict differently.

• Explain to participants that each

group should appoint a scribe and
person to report back to the
group.

• Write items on the flip chart.

4
Notes to Facilitator Learning Activity 3
Duration: 20 minutes Expectations and Agenda

• Ask participants to:

Resources • look at the workshop schedule
• Flip chart, markers, and tape in their welcome packs.
• Workshop schedule • discuss in pairs their
expectations of the workshop.
• Workbook
• write their expectations on the
coloured paper provided and
then stick them on the walls of
the training room.

• Allow 10 minutes for this activity,

then call for feedback and make a
note of any additional
expectations.

• Discuss with participants whether

or not it will be possible to meet all
of their expectations.

• Ask participants to set themselves

some personal goals and write
these down in section 1.1 of their
workbook.

5
Notes to Facilitator Learning Activity 4
Duration: 10 minutes Housekeeping

• Discuss housekeeping and

Resources administrative details.
• Flip chart, markers, and tape
• Agree on the ground rules for the
workshop (see paragraph on
"Setting ground rules" in
facilitator's guide).

• Write ground rules on a flip chart

(or white board) and have them
prominently displayed for the
duration of the workshop.

Notes to Facilitator Learning Activity 5

Duration: 25 minutes Introduction to SFCG and
Soap

Resources
• Flip chart, markers, and tape • Locate section 1.2 in workbook,
“Soap opera on Burundi radio
Note 1: In the course we will use turns a force for evil into a force for
“soap opera” or “soap” to mean serial good,” by Declan Walsh.
radio drama (facilitators may want to
briefly explain the origin of the term • Ask participants to read article.
“soap opera” – see facilitator's guide).
• Ask:
Note 2: In the discussion make the • Why is this serial radio drama
point that drama can educate through so effective?
entertainment – we call this • What themes or messages can
“edutainment”. This will be discussed you identify which deal with
more in unit 4. Ensure that the issues of conflict?
following points come out: • What is the long-term goal of
• Radio drama invites people to broadcasting radio
use their imagination. programmes like this?
• Do you think that teaching
• Radio drama allows listeners to people through drama is as
identify with characters in the effective, more effective or less
drama as “people I know”. effective than lecturing them?
• Radio drama educates, informs,
motivates and entertains.

6
 • Radio drama raises important • List responses on flip chart (see
social issues. note 2).

Note 3: Conflict transformation is a • Explain briefly how SFCG

process that aims to shift how operates to transform conflicts
individuals and communities view and (see note 3) in pre-, hot and post-
deal with their differences - moving conflict societies (draw on other
away from adversarial win/lose current examples – see:
approaches toward collaborative www.sfcg.org).
problem-solving. It is important to
point out that conflict is not bad in
itself, but is a part of the human
experience. In fact conflict is often a
catalyst for positive social change.
However, conflict does become a
problem when it turns violent or
oppressive.

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • Did you learn new things

appeared critical to the learners? during this session?
• How was this result different from • Do you feel that your
or similar to what you expected or expectations are going to be
experienced previously with other met during the workshop?
learners? • Do you have any areas of
• Have you learnt something new concern about the workshop?
that inspired you to change future
training?

7
Unit 2 – Where scriptwriter fits

Purpose
This 120 minute session explains where the script writer fits into the process of
developing a radio drama for conflict transformation in terms of: developing the
drama from idea to broadcast; and going through the script writing process itself.
It includes a section on the problems and dangers that script writers can
encounter.

Resources
• Flipcharts, markers, and tape
• Workbook
• Prepared flipchart
• Brief_Job descriptions
• Brief_How the P-Process works
• OHP_P-process
• OHP_Overview

Unit objectives
By the end of this unit participants will be able to:

• locate where script writers fit in the drama development process

• describe the other steps and types of jobs involved in developing a drama to
draw attention to the fact that they are part of a team
• demonstrate the importance of deadlines
• follow the different steps for writing a script
• identify possible solutions to problems that may be encountered

Duration: 120 minutes

8
Notes to Facilitator Learning Activity 1
Duration: 5 minutes What’s Involved

Resources • Locate section 1.2 in workbook,

“Soap opera on Burundi radio
• Flipchart, markers, and tape
turns a force for evil into a force
• Workbook for good,” by Declan Walsh (from
previous session).

• Take a quick poll and write the

results on the flip chart:
• How many people do you think
were involved in the process
before the soap scripts were
ever recorded?
• How many stages do you think
were involved before the scripts
were recorded?
• How long do you think it took
from the initial idea to write a
soap to the first recording?

Notes to Facilitator Learning Activity 2

Duration: 15 minutes P-Process
• Locate section 2.1 in workbook.
Resources
• Flip chart, markers, and tape • Give participants a few minutes to
• OHP_P-process study their copy of the Johns
• Workbook Hopkins’ P-Process diagram,1 and
also project OHP_P-process (see
See Brief_P-process for more notes).
information about the Johns Hopkins
“P-process”. Make sure to point out • Ask participants:
that the script writer becomes involved • What are the different
during the second, or strategic design elements of the process?
phase. During the earlier analysis • Can you explain what happens
phase’ project planners will have during each element of the
already developed the concept process?
document, which will be dealt with • Who are the different people
later in the course. involved in each element of
the process?

1
De Fossard, E., How to Write a Radio Serial Drama for Social Development: A Script Writer's
Manual, Johns Hopkins School of Public Health, Baltimore, 1997, p.3.

9
 • Can you identify where you, as
script writers, fit into the
process?
• Do you fit into more than one
place on the diagram?

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • Does the P-Process make

appeared critical to the learners? sense to you?
• How was this result different from • Do you understand where the
or similar to what you expected or script writer fits in the process?
experienced previously with other • Do you think this activity
learners? changed you? How?
• Did you learn something new that • Were you surprised that the
inspired you to change future process, from beginning to
training? end, was so involved?

Notes to Facilitator Learning Activity 3

Duration: 30 minutes Other Jobs – Role Play

Resources • Locate section 2.2 in workbook.

• Flip chart, markers, and tape
• OHP_P-process • List the names of all the different
• Workbook people involved in production of
the drama, and their job functions.
See Brief_Job descriptions. The list of
jobs could include: • Locate section 2.3 in workbook.
• Project/Programme Manager
• Project Coordinator • Ask participants:
• Funding agency • To place each of the
representative/liaison officer people/job functions listed in
• Broadcast outlet the relevant section(s) of the
representative/liaison officer P-Process diagram.
• Educational/Content Specialists • To choose different jobs, and
• Script writer(s) talk about the tasks that job
• Administrator involves.
• NGO and Donor agency
representatives • Write responses on flip chart.
• Government liaison representative
• Researcher/evaluator • Ask others to comment and add
• Promotions manager other tasks, ensuring that all the

10
• Audience relations manager different jobs are listed (see
• Executive producer notes).
• Studio producer
• Actors
• Sound engineer
• Translator

Make it clear that some jobs can be

doubled up - you don't have to have all
those people to produce a radio
drama. You do need to think about
the different jobs all those people do
and figure out who's going to do what!
SFCG’s Indonesia soap, for instance,
was basically managed and produced
by eight people, including four writers.

Notes to Facilitator Learning Activity 4

Duration: 10 minutes Importance of Deadlines

• Refer to flip chart from previous

Resources session.
• Flip chart with above list
• Ask participants:
• How are all these different jobs
linked together?
• How would you order these
jobs according to importance?
• What, if any, jobs would you
omit from the list?
• What happens if one job is
done badly or is completed
much later than agreed?
• What is a deadline, and what
is the importance of a
deadline?
• How can we stick to
deadlines?

11
Notes to Facilitator Learning Activity 5
Duration: 35 minutes Different Steps to Script
Writing

Resources • Locate section 2.4 in workbook

• Flip chart, markers, and tape and show overhead slide
• OHP_O-overview (OHP_O-overview).
• Workbook
• Remind participants that, as
In the discussion, be clear that the job writers of a radio soap, they are
of actually writing a radio soap is part part of a much larger process that
of a process and that everyone must involves many other people (see
work as a team in order to be notes).
successful. This process involves:
• designing the characters • Explain the script writing process
• agreeing on a setting as described in the Overview
• writing a series script summary diagram.
• writing episode plot summaries
• writing episode script outlines
• writing the scripts
• pre-testing must be done once the
first set of scripts (5-6 episodes, or
more) have been written, in draft

12
Notes to Facilitator Learning Activity 6
Duration: 10 minutes Writing the Character
Sketch

Resources • Locate section 2.5 in workbook.

• Flipchart, markers, and tape
• Workbook • Explain background to character
sketch in workbook (see notes),
then ask participants to read it.
This character sketch was developed
at an SFCG workshop for Palestinian • Locate section 2.6 in workbook.
writers in 2002. Writers felt that in the
light of the intifada (or uprising) the • Ask participants, as a group, to
idea of doing a soap about conflict create a character sketch for a
transformation would be very difficult. character that represents ‘peace’.
Therefore, they decided to concentrate This could be an animal, an
on promoting the idea of active non- imaginary being, an adult, a child,
violence among Palestinians. Amal, etc.
was one of the characters they
developed for the drama, Dada Abuna • Write a collaborative character
– which became very successful. sketch on the flip chart.

Quality Check
For Facilitator: For Participants:

• What happened during the session • Did you find it difficult to come up
in terms of process and learning with the character sketch?
outcomes? • Did you find the group process
• What have you learnt and what helpful?
needs to change in future training? • Did you have equal opportunity to
share?

13
Notes to Facilitator Learning Activity 7
Duration: 15 minutes Responses to Problems
(libel, intimidation etc.)
Resources
• Discuss problems that people are
• Flipchart, markers, and tape likely to encounter doing this kind
of work. Present a case study as
an example and discuss how it
Facilitator should be prepared to was handled. Then discuss how it
discuss the problems likely to be could or should have been
encountered in the local context such handled (see notes).
as intimidation, libel, extortion etc., and
be aware of ways to solve these • Ask participants:
problems (e.g. have a good lawyer on • What were the main problems
call for advice). Pre-select an encountered in the example?
appropriate case study as an example • How similar are they to your
to be discussed. own situation?
• What other problems do you
think you could encounter in
your situation? (see notes)
• How could these problems be
resolved?

Quality Check
For Facilitators: For Participants:

• What happened in this transition in • How has this activity helped you
terms of process and outcomes? to understand some of the
• If the participants raised problems, problems you might encounter?
how do you plan to respond to • How helpful was it to listen to
them in future training? suggestions from other people?

14
Unit 3 – Write for radio final

Purpose
This module should be regarded as an introduction to the subject of serial radio
drama for conflict transformation. Its purpose is to provide participants with the
knowledge, the attitude and the skills to write for the ear (the medium of radio)
rather than the eye (the print media), to observe the environment, and to write a
radio script based on their observations.

Resources
• Flipcharts, markers, and tape
• Workbook
• Brief_S&W
• DOC_Trouble in Hilastan (alternate exercise)
• Prepared flipchart

Unit objectives
By the end of this unit participants will be able to:

• Explain the differences between writing for the ear and writing for the eye
• Identify the skills and characteristics of a good radio script writer
• List the strengths and weaknesses of radio
• Write a short monologue script to acceptable broadcast standards
• Edit and adapt a print medium article for radio
• Identify the characteristics of a good dialogue script

Duration: 170 minutes

15
Notes to Facilitator Learning Activity 1
Duration: 15 minutes Basic Script Writing Skills

Resources
• Flipchart, markers, and tape • Ask participants to turn to
• Workbook Workbook Section 3.1: “Mighty
Ants”.
You may want to prompt suggestions
for script writing skills with ideas such • Select a participant to read the
as: first part from New Scientist and
• Using a single idea per someone else to read the version
sentence, so it can be written for radio.
understood the first time it is
heard • List and discuss responses to
• Using short sentences questions such as these:
• Using common, familiar,
everyday words • What are the differences
• Writing for the ear in talk between the two?
language not for the eye in • What did you like about this
written language radio version of the script?
• Keeping the audience’s • What good script writing skills
psychological, physical and do you see being used in this
spiritual needs in mind script?
• Ensuring consistency and • What are the main attitudes
emotional truth and aptitudes required to write
• Providing ideas as well as facts a script such as this?
• Using active not passive words

16
Notes to Facilitator Learning Activity 2
Duration: 10 minutes Aptitude of a Script Writer

Resources
• Flipchart, markers, and tape • Ask participants:

Note 1: You may want to prompt with • Who is your favourite writer?
ideas such as: ” A good radio writer...” • Why do you like him/her?
• Draws word pictures • What makes a writer popular?
• Uses simple language • What are the characteristics of
• Has a clear idea of how to get a a good writer?
message across in a limited
amount of time • List and discuss suggestions
• Is an observer of life (see notes 1 and 2).
• Is curious about places, people,
and ideas
• Is with his/her audience,
participating in and experiencing
their life
• Is sensitive to socio/political issues
• Listens to the way in which the
audience speaks
• Knows what they talk about
• Watches how they communicate
• Knows what interests them
• Knows what makes them laugh,
cry, wonder, angered, joyful,
excited, amazed, surprised,
comforted, reassured, etc
• Is a person of whom the audience
can say, “He/she knows me and
my problems"
• Is dissatisfied with the present and
wants change

Note 2: Instead of asking participants

about their favourite writer, it may be
more appropriate to ask participants
about their favourite soap opera (on
radio or TV), film or play. The
questions should be adjusted
accordingly.

17

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• In what ways was this result • How has this activity changed
different from or similar to what you you?
expected?
• Have you learnt something new
that inspired you to change future
training?

Notes to Facilitator Learning Activity 3

Duration: 10 minutes Radio: Strengths and
Weaknesses
Resources • Point out that we need to
• Flipchart, markers, and tape understand the weaknesses and
• Brief_S&W strengths of radio. Then we can
use strategies to build on the
strengths and overcome the
Note: You should be fully briefed on
weaknesses. This course will
the strengths and weaknesses of radio
show us how to do that in our
as outlined in the document
script writing techniques, and the
Brief_S&W.
way we use radio for health and
social development.

• Ask participants to suggest first

the strengths, then the
weaknesses of radio.

• List on a flipchart and discuss (see

note).

18
Notes to Facilitator Learning Activity 4
Duration: 10 minutes Basic Writing Skills

Resources • Ask participants to suggest the

basic skills needed to write for
• Flipchart, markers, and tape
radio.

• Encourage participants to get

ideas from:

• The flipcharts that list the

strengths and weaknesses of
radio
• The participants’ suggestions
of good script writing skills for
the Mighty Ants script

• List and discuss the responses.

• Instruct participants to write their

personal principles in the
Workbook.

Notes to Facilitator Learning Activity 5

Duration: 15 minutes TSW Formula

Resources • Locate Workbook Section 3.2:

• Flipchart, markers, and tape TSW Formula.
• Workbook
• Initiate discussion and explain:

• THINK IT
• SAY IT
• WRITE IT

• Encourage participants to
comment.

• Discuss.

19

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Will the TSW formula help you as
dynamics of this activity? a script writer? How and/or why?
• What, if anything, would you • Did you think more/less time
change in future training? should be given to the activity
• How did participants respond to the we’ve just done?
TSW formula? • Was there something you wanted
to share but could not? Why?

Notes to Facilitator Learning Activity 6

Duration: 20 minutes Modifying a Script

Resources • Locate Workbook Section 3.3

• Workbook (see note).
• DOC_Trouble in Hilastan
(alternative exercise) • Ask participants to read the article,
“How South Africa avoided a blood
Note: You may use the article bath”. Then they should rewrite
provided in section 3.3 of the the article in the Workbook, using
workbook, “How South Africa avoided their "Four Key Principles" of
a blood bath”, or you may prefer to find writing for radio.
a short newspaper or magazine article
which is more relevant to your • Allow 10 minutes to write.
situation. Ideally, it should deal with a
conflict theme. Alternatively you could • Discuss responses.
write your own imaginary article, such
as the example provided called
“Trouble in Hillastan”.

20
Notes to Facilitator Learning Activity 7
Duration: 20 minutes Writing to Broadcast
Standard

Resources • Turn to Workbook Section 3.4.

• Workbook
• Point out that we do not think that
this script is broadcast standard.
You may wish to find your own script
that is not broadcast standard or you • Ask participants to read the script
can use the one provided in the carefully and mark where they
workbook. think it needs improvement.

• Discuss and then allow 15

minutes to rewrite sections of the
script that need improvement.

• Ask for volunteers to explain how

they improved the script using
principles of writing for radio.

• Discuss responses.

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What have you learnt as a result

process and outcomes? of this exercise?
• How was this result different from • Where do you think you need
or similar to what you expected? more help?
• What suggestions do you have of
other ways that we could have
imparted script writing skills? How
should this be done?

21
Notes to Facilitator Learning Activity 8
Duration: 10 minutes Anticipating difficulties

Resources • Ask participants:

• Flipchart, markers, and tape
• In the earlier activity, what
You might like to explore issues such problems did you face
as: modifying the script and how
• Lack of resources did you resolve them?
• Geographical distance from the • What problems or difficulties
listener do you anticipate in attempting
• Socio/economic distance from to implement these principles
the audience in your situation?
• Perceived lack of time • How will you resolve those
• Lack of encouragement problems?
• Resistance to new forms of
programs • Discuss responses.

Quality Check
For Facilitators: For Participants:

• What happened in this transition in • How has this activity helped you
terms of process and outcomes? to see script writing problems from
• If the participants raised problems, a different perspective?
how do you plan to respond to • How helpful was it to listen to
them in the future? suggestions from other people?

22
Notes to Facilitator Learning Activity 9
Duration: 30 minutes Observing the
Environment
Resources
• Explain that the purpose of the
• Workbook next exercise is to increase our
awareness of our surroundings, in
order to:
• Write for the ear
• Create a picture for the mind

• Explain that many novelists,

artists, singers, and actors find
they write or perform best when
their works are based on their life
experiences.

• Explain that we don’t always

observe what is there to be
observed.

• Locate Workbook section 3.5.

Demonstrate how to use the
“Observing the Environment
Checklist” with all participants at a
nearby location.

• Send the participants off in pairs

or teams to complete the
Checklist (stress that they have 20
minutes to complete the activity).

• Ask them to write a 2 minute talk

based on their observations as
per the instructions in the
Workbook. This assignment
should be completed on their own
time this evening and handed in to
the facilitator the next day.

23

Quality Check
For Facilitator: For Participants:

• What happened in the transition in • How did you feel about working in
terms of process and outcomes? a group?
• What have you learnt and what • How worthwhile do you think
needs to be changed in future implementing “Observing the
training? Environment Checklist” in your
workplace would be?
• Were you aware that there were
so many ways to observe the
world around you?
• Were you given an equal
opportunity to share?

Notes to Facilitator Learning Activity 10

Duration: 15 minutes The Dialogue

Resources • Explain the purpose and

• Workbook importance of dialogue in radio
serial drama (see note 1).
Note 1: Dialogue is how we engage
dramatically with the world. • Locate Workbook Section 3.6.
Characters inform, amuse, outrage,
challenge and argue through the ebb • Ask two participants to read (act)
and flow of dialogue. Great radio the dialogue, “Just war”
plays are created by using dramatic
dialogue. Despite ever-increasing • Form groups and ask the following
budgets for high-tech movies, great questions from the workbook:
movies are first and foremost great
stories. And on screen, it is dialogue • What are the characteristics of
that unfolds the story. The same is a dialogue?
true for a radio serial drama or soap • What was the point of this
opera. On radio, of course, we don't dialogue?
have the luxury of sets and lighting, so
• Why was it more powerful to
it's important to focus on what we can
present the issues in dialogue
do well: dialogue.
format?

24
Note 2: You may wish to use your • What do you understand from
own example of a dialogue, which is the script about the characters
more relevant to the context of the in the dialogue?
participants. • Ask a spokesperson from the
learning groups to report back and
discuss with the whole group.

Notes to Facilitator Learning Activity 11

Duration: 15 minutes Use Dialogue for
Characterisation

Resources • Explain that dialogue has to move

• Workbook the story along and provide
• Flip chart, markers, and tape “visual” clues to the listener, but
that characterisation is an equally
important function of dialogue. A
character’s speech shows his/her
personality as well as his/her
momentary emotional state.
Through characterisation in
dialogue we learn: who the story
characters are in the community;
what their emotional motives are;
how far they’re likely to go to get
what they want; whether they are
caring, generous, sociable; etc.
We can judge character by what
people do, but also by what they
say and how they say it.

• Ask participants how they would

use dialogue to portray the
following characteristics in people:
• Unfocused
• Impulsive
• Arrogant
• Upwardly mobile
• Violent
• Insecure and uncertain

• List answers on flip chart.

25

Quality Check
For Facilitators: For Participants:

• What happened in this transition in • What did you learn as a result

terms of process and outcomes? of this activity?
• How did you encourage the • How capable do you feel that
participants to go beyond what was you are able to construct an
expected, to show initiative? appropriate dialogue?
• How did you demonstrate that you • What way was your
believe in the potential of the experience here different from
participants? or similar to what you
expected?
• What has changed in the way
you work as a result of this
activity?

26
Unit 4 – Serial Radio drama for social change

Purpose
The purpose of this module is to help participants to understand how serial radio
drama helps to effect social change. It covers the history of soap opera and
examines the differences between entertainment and edu-tainment drama.

Resources
• Flipcharts, markers, and tape
• Workbook
• Brief_Albert Bandura
• Brief_Sabido Method
• Brief_ZPD
• OHP_ZPD
• Handout_Soap Opera
• Prepared flipchart

Unit objectives
By the end of this unit participants will be able to:

• Outline the history of serial radio drama

• Explain the differences between ordinary radio drama and serial radio drama
for social change
• Explain how serial radio drama for social change works

Duration: 110 minutes

27
Notes to Facilitator Learning Activity 1
Duration: 15 minutes Definition of Edu-tainment

Resources • Locate section 4.1 in workbook.

• Flipchart, markers, and tape
• Workbook • Ask participants to take 5 minutes to
think about and write down a
definition of the word Edu-tainment
Note 1: The purpose of this exercise is (see note 1).
to ensure that the participants
understand that the kind of soap we • Ask participants to read out their
want to write has to entertain the definitions, write them on the flip chart
target audience. Otherwise the and discuss them (see note 2).
messages will not be successfully
transmitted. • Ask participants to think of examples
of edu-tainment, which they’ve seen
Note 2: A definition of this objective on TV or heard on the radio. If they
may be something like: ‘The term Edu- can’t come up with any examples, ask
tainment expresses the marriage of them to think about traditional stories
education and entertainment in a TV and proverbs that educate by
or radio programme, or in a book, so entertaining.
as to educate the audience/readers at
the same time as entertaining them.’

28
Notes to Facilitator Learning Activity 2
Duration: 30 minutes History of Soap Opera

• Distribute Soap Opera – AShort

Resources History (Handout_Soap Opera), and
• Flipchart, markers and tape ask participants to take ten minutes
• Handout_Soap Opera to read it.
• Brief_Albert Bandura
• Answer any questions the
• Brief_Sabido Method participants have and go through
them. Then ask other participants to
suggest answers to their questions (it
Note: The following are the main may help you to read the two Briefs;
elements of the Sabido Method: Brief_Albert Bandura, and
• Characters range between Brief_Sabido Method).
good, bad and transitional
• Characters have experiences • Ask:
that are close to those of the • Why were the early radio soap
audience operas so successful?
• Transitional characters slowly • Why were the soap
evolve and change their manufacturers interested in
attitudes and behaviours over sponsoring the early radio
time dramas?
• Transitional characters are the • Why do you think audiences
ones which model the slow identify with the characters in a
change of attitude and soap opera?
behaviour change sought • What are the main elements of
• There are several plot lines, only the Sabido Method?
one of which carries the social
change message (usually in a • List responses to the last question
sub-plot) on the flipchart and discuss (see
note). Emphasise that this is only
an introduction to the subject and
that it will be fully covered in ‘Unit
9: Theory of Soap’.

29
Notes to Facilitator Learning Activity 3
Duration: 25 minutes Differences Between
Entertainment and Edu-
Resources tainment
• Flipchart, markers, and tape
• Remind the participants that, in
order to successfully use serial
Note 1: You may want to prompt with radio drama to promote social
ideas such as: change, we must be clear about
Entertainment Edu-tainment the differences and the similarities
Entertaining Entertaining between soaps for entertainment
Character Character and for edu-tainment. This will
Dialogue Dialogue help us when it comes to writing
Cliff-hanger Cliff-hanger the script.
Setting Setting
Conflict Conflict • Ask participants to suggest the
Message(s) main elements of: 1) an
Intended outcomes entertainment soap, and 2) an
edu-tainment drama (see note 1).

Note 2: All drama must entertain if it is • List the elements in two columns
to engage the audience (that doesn’t on a flipchart and discuss (see
mean it has to be funny, just that it is note 2).
interesting in a human way). It must
contain characters (which can be
people, animals, imaginary creatures
or even normally inanimate objects
such as a building), and dialogue,
which is the driving force of a radio
drama (long speeches and
monologues are usually boring). All
drama contains elements of conflict,
either between people or within
individuals, but not necessarily violent
conflict. For example, it could be a
conflict about which of the characters
is going to pay for the coffee they’ve
drunk together.

Much drama also contains elements of

a message, or messages; most writers
have something to say (although TV
soaps in particular are often criticised
for not having any message or
purpose beyond pure entertainment).
And all soaps have cliff-hanger
endings, meaning that each episode
ends at a point that leaves the

30
audience wanting to know what
happens next. What entertainment
drama doesn’t have, and edu-tainment
does, is ‘Intended Outcomes’, or a
clear intention to change the
audiences’ attitudes or behaviour in
very specific ways.

Notes to Facilitator Learning Activity 4

Duration: 15 minutes Zone of Proximal
Development

Resources • Show OHP_ZPD and explain

what it represents. Explain and
• Flip chart, markers, and tape discuss the connections
• OHP_ZPD between the ZPD and
• Brief_ZPD Bandura’s Social Learning
Theory.

Note 1: Read Brief_ZPD before the • Discuss as a group:

session. Consider the connection • how this model can be used
between Social Learning Theory and in the production of soap
Zone of Proximal Development. For operas.
further information, reference the • how it can be applied to the
additional sources noted in the brief. development of characters.
• how it could be of assistance
in developing and reaching
intended outcomes.

• Write responses and

suggestions on the flip chart.

31

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected or you?
experienced previously with other
learners?
• What new things have you learnt
that have inspired you to change
future training?

Notes to Facilitator Learning Activity 5

Duration: 20 minutes Using Serial Radio Drama
for Social Change

Resources • Explain briefly that when writing a

serial radio drama for social
change, we need to be clear about
• The secret of a successful radio what change(s) we want to
series is to have a clear set of encourage. Also, we must
characters and strong storylines. understand that no one likes
The audience must, a) understand changing. This is why we are
and identify with the main hoping the audience will model the
character(s), particularly to those changes which the transitional
who carry the message(s), and b) characters make as they their
be kept in constant doubt about behaviour and attitudes transform
what is going to happen next. at a realistic and believable pace

• If the audience is entertained and • Discuss.

fascinated in this way they are
more than likely to be open to the
educational messages carried by
the drama.

32
Notes to Facilitator Learning Activity 6
Duration: 5 minutes Overnight Assignment –
the Concept Document
Resources
• Draft concept document
• Locate section 6.1 in the
• Workbook Workbook.
Note: There are very few assignments • Give participants reading
required outside of course hours. It is, report assignment (see note).
however, important that all participants
read the “Concept Document” before • Explain that there are not
the second day of the course. From many assignments given that
experience, this won’t be done unless have to be done out of hours.
participants are given an assignment However, it is essential that all
that has to be handed in. This is in the participants read the “Concept
form of a reading report included in Document” and answer the
section 6.1 of the Workbook. questions in section 6.1 of the
Workbook, which should be
handed in the next day. Stress
that it is important that they do
this or they will be lost during
the next day’s activities.

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected? you?
• What new things have you learnt
that have inspired you to change
future training?

33
Unit 5 – Conflict Transformation 1

Purpose
The purpose of this module is to explore skills for and introduce participants to it
basic principles of conflict transformation.

Note
You can skip this unit if the participants have already gone through a basic
conflict resolution training.

Resources
• Flip chart, markers, and tape
• Brief_Conflict circle
• Brief_Approaches to Conflict
• Handout_Common Responses to Conflict
• Handout_Conflict pattern
• Handout_Conflict Scenario
• DOC_Chinese Proverb
• DOC_Impact on Relationship
• Prepared flip chart

Unit objectives
By the end of this unit participants will be able to:

• Define and understand conflict, conflict transformation

• Identify the origins and dynamics of conflict
• Recognise their personal conflict behaviour style, and different ways to deal
with conflict
• Describe the conflict circle
• Apply this learning in the writing of a soap opera

Duration : 90 minutes

34
Notes to Facilitator Learning Activity 1
Duration: 30 minutes Understanding Conflict
• Arrange the room so that
Resources participants are in a circle and
• Prepared flip chart can see the flip chart.
• Flip chart, markers, and tape
• Doc_Chinese proverb • Brainstorm with group about
conflict definitions. Discuss.

During this exercise, emphasise to • Share conflict definition from the

participants the importance of linking previously prepared flip chart
the definition to their personal (see Note 1).
experience. This exercise could be
redundant, if you covered the definition • Divide participants into small
already in the first facilitated groups (depending on number of
discussion. participants). Ask them to
discuss a real conflict situation
they have been through, and to
Note 1: Prepare a flip chart with agree on a definition of conflict.
following definition by David W.
Augsburger: “Human conflict is...like all • Ask each group to report on their
others, like some others, and like no experience during the activity.
others. Conflicts are universally Write on a flipchart the definition
similar, culturally distinct, and they came up with.
individually unique. Conflict is a crisis
that forces us to recognise explicitly • If you want to, share the flip
that we live with multiple realities and chart with the Chinese proverb
must negotiate a common reality; that and explain (see Note 2).
we bring to each situation differing –
frequently contrasting – stories and • Ask participants to shout out
must create together a single shared words to describe conflict, using
story with a role for each and both” all their senses (eyes, hands,
ears, nose, mouth). What does
Note 2: If you think it’s useful you can conflict: look like; feel like; sound
prepare a flip chart of the Chinese like; smell like; taste like?
character Wei-Ji, crisis (conflict) =
danger and opportunity (Doc_Chinese Ask and discuss: Is conflict good or
proverb). bad? Negative or positive? Destructive
or productive?

35
 Learning Activity 2
Notes to Facilitator
Duration: 30 minutes Exploring Origins of
Conflict
Resources
• Workbook
• Brief_Conflict circle • Pass out Handout_Conflict pattern
to participants. Discuss briefly.
• Brief_Approaches to Conflict
• Handout_Conflict pattern • Locate section 5.1 in Workbook.
Explain the Conflict Circle (see note
Note 1: The primary objective of this 1). Ask participants to brainstorm
activity to emphasise that conflict is not additional examples.
static. Conflict is a circle (see
Brief_Conflict circle) • Discuss general causes of conflict
(see note 2):
Note 2: Consider conflict as a mixture • What are the origins of conflict?
of all of these elements. One of the • What are the dynamics of
greatest sources of conflict comes when conflict?
expectations are not met. For example: • What happens to people in
• failure to deliver on a promise conflict?
• lack of quality or competence
• differing perceptions/values/styles • Organise exercise on personal
• standing on principle approaches in conflict (see Note 3).
• competing for scarce resources Put a chair (or any other object) in
the middle of the room and explain
There is a particular dynamic to conflict: that it represents a conflict. Then
1. feelings intensify ask participants to position
2. positions harden themselves in relation to this object
3. dehumanising occurs (in front, behind, etc.), to represent
4. punishing emerges how they each see or act in a
5. communication deteriorates conflict situation. It will reveal
whether people confront, avoid, etc.
Note 3: The exercise will serve as an You can give the participants the
introduction to the next activity as well Handout_Common Response to
as a fun way to get the participants Conflict, if you think it will help them
moving. However, if it is felt that (and see Brief_Approaches to
participants have an adequate Conflict)
understanding of conflict, the exercise
may not be necessary. • Following the activity, discuss the
five different approaches to conflict:
avoidance, collaboration,
accommodation, avoidance,
compromise.

36
Notes to Facilitator Learning Activity 3

Duration: 30 minutes Ways to Deal with Conflict

Resources
• Handout_ Conflict scenario (or • Divide participants into small
a scenario prepared by the groups.
facilitator)
• Prepared flip chart, markers, • Distribute a conflict scenario (see
and tape note 1), the same for each group.
• DOC_Impact on relationship
• Ask groups to come up with a
different way to end the story, (i.e.
This activity is meant to be a brainstorm how the conflict could evolve).
and not a role play. They have 5 minutes to complete
this.
Note 1: The scenario provided
(Handout_Conflict scenario) can be • Debrief exercise. Ask each group
used or you can create a more to describe one of their scenarios,
culturally appropriate scenario. so you have a wide range of
possible ends to the story.
We use the word conflict transformation
because our focus is not to just resolve • Ask each group representative to
a conflict or problem, but to maintain or position their scenario with an X on
even improve the relationship that may the previously prepared flip chart
have been badly damaged as a result (see note 2) (i.e. to what extent was
of the conflict. At the end of the story, the problem solved and how did it
the situation must be completely impact on the relationship).
different. Parties must have had their
needs and concerns met, and have • Ask the group what they
gained a better understanding and understand now by conflict
relationship with the other party/parties. transformation. Discuss.
Note 2: Prepare a flip chart with the
Impact on Relationship Chart
(DOC_Impact on relationship).

37
Unit 6 – Concept document

Purpose
It is assumed that a draft concept document, with a statement of intended
outcomes, has already been prepared in advance of this training workshop by a
design team.

This unit is designed to introduce participants to the concept document, which

has been developed by the design team including the participants. Although
many decisions have already been made regarding the target audience and the
intended outcomes, this session should: acquaint participants with the essential
elements in a concept document, encourage ownership of the project, and allow
for fine tuning of the design process. The object of this unit is NOT to re-write the
concept document, but to allow the writers to understand it. They will get their
chance to contribute to it later.

IMPORTANT: THE DRAFT CONCEPT DOCUMENT SHOULD BE GIVEN TO

PARTICIPANTS DURING THE LAST SESSION OF DAY ONE (UNIT 4). THEY
ARE REQUIRED TO READ IT THOROUGHLY THAT EVENING AND ANSWER
THE QUESTIONS IN SECTION 6.1 OF THE WORKBOOK.

Resources
• Concept document
• Workbook
• Flipcharts, markers, and tape

Unit objectives
By the end of this unit participants will be able to:

• State the purpose of the concept document and intended outcome

programming
• Identify and affirm the stated objectives of the serial radio drama
• Describe some of the main elements in behaviour change
• Develop appropriate conflict resolution messages for the intended audience

Duration: 205 minutes

38
Notes to Facilitator Learning Activity 1
Duration: 15 minutes Reading Report Review –
The Concept Document
Resources
• Draft concept document
• Locate section 6.1 in workbook
• Flipchart, markers, and tape (make sure participants have
• Workbook completed overnight assignment –
see note 1).
Note 1: All participants are required
to have read the draft concept • Discuss the participants’
document ahead of this session and responses to the questions in the
completed the reading report in workbook to ensure they
section 6.1 of the workbook (see unit understand the draft concept
4 – last learning activity). document (see note 2).

Note 2: It is important that

participants understand that the
overarching goal of the project is to
transform conflict in the
community/society in order to achieve
positive outcomes. It will do this by
influencing and challenging the target
audience’s attitudes, values and
beliefs as well as providing them with
new knowledge or skills. The
purpose of this exercise is to
introduce and explain the “concept
document,” which defines what will
happen, to whom, where and how. It
guides the process from beginning to
end. Although concept documents
vary from area to area, every concept
document should contain at least the
following elements:
• a rationale for the project
• the target audience
• the intended outcomes
• the key messages in the drama
• an overview of the conflict
situation (which may be in
summary form or in numerous
position statements)
• the scope of the project (how long
it will run and duration of
programme).

39
Notes to Facilitator Learning Activity 2
Duration: 15 minutes Understanding the Conflict

Resources • Write the headings on a flipchart:

• Draft concept document Predisposing/Enabling/Reinforcing
• Flipchart, markers, and tape
• Explain Predisposing, Enabling and
The concept document should list Reinforcing factors in conflict (see
most of the elements that might be notes) and list points on the flipchart
contributing to the conflict. It is (keep flip chart for later use).
helpful to sort these “risk” factors into
a logical order, which will give an • Ask participants:
indication of some of the causal • What are the main predisposing
pathways leading to the problem. factors in the conflict?
• What are the main factors that
Predisposing factors: These factors enable peace (enablers) or
predispose a person to behave in a militate against conflict (barriers)?
certain way or predispose a situation • What are the main reinforcing
to occur. They include: knowledge; factors in the conflict?
attitudes; beliefs; and perceptions. • Why should we bother sorting out
these factors?
Enabling factors: These are factors
that encourage behaviour, or enable a • Explain that unless our social change
situation to occur. They make it messages are focusing on these
possible for motivation to be realised; areas, it is unlikely that we will bring
that is they enable people to act on about and maintain any change in a
their predispositions. Included are: situation.
availability of and access to
resources; supportive policies; new • Explain that breaking down the
skills or training needed for conflict in this way may seem
behavioural or environmental simplistic, in that conflicts are usually
changes etc. complicated and cannot be broken
down into a simple cause and effect.
Reinforcing factors: These are This exercise, however, helps us to
factors that reinforce the carrying out address some of the underlying
of a behaviour or the maintenance of issues, which in turn which will help
a situation. They include peer us prepare appropriate messages.
pressure, parental pressure and
authoritative pressure, which are
often driven by the existing attitudes
in our community. The mass media
also reinforces our behaviour.

40

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • How helpful was it to analyse

appeared critical to the learners? the conflict in this way?
• How was this result different from, • What new things did you
or similar to, what you expected? learn?
• Have you learnt something new • How accurate do you feel your
that inspired you to change future views on the causes of conflict
training? in your society/community
were before the activity?
• How has this activity changed
you or your perceptions?

Notes to Facilitator Learning Activity 3

Duration: 15 minutes Intended Outcomes

Resources • Explain intended outcomes (see

notes).
• Draft concept document
• Flipchart, markers, and tape • Ask participants:
• How do the intended outcomes
appear to address future
Intended outcomes are statements resolution of this conflict?
that specify what changes we want to • What are the assumptions
effect in the lives of the listener- about the level of knowledge,
learner. These changes may be attitudes, skills, beliefs, and
described in terms of their knowledge, values of the target group?
their skills, their attitudes or ultimately • Why are the intended
their behaviour. The changes should outcomes achievable and
be measurable. A concept document realistic or not?
describes the intended outcomes of • Why would you change or add
each programme rather than giving a new intended outcomes?
description or a summary of the
content. There will also be an • Write responses on flip chart.
overarching intended outcome for the
whole project, which will probably be • Explain that the intended
stated in terms of behaviour change, outcomes are about the
as that is ultimately what we want. CHANGES that we desire to see
in the lives of listeners. Give
examples from the draft concept
document.

41
Notes to Facilitator Learning Activity 4
Duration: 20 minutes Values, Attitudes and
Beliefs

Resources • Explain that we all have different

• Draft concept document perspectives on life, many of
• Flipchart, markers, and tape which are determined by our
values, beliefs, and attitudes.

• Explain that we need to

understand and identify with the
target audience if we want to bring
about behaviour change. This
means we need to understand
their perspectives on life.

• Ask participants:
• How would you distinguish
between the terms: values,
attitudes, and beliefs?
• Where do you think these
distinctions come from?
• What problems could you
anticipate when trying to make
a serial radio drama that has
an impact on people’s values
and beliefs?

• Debrief.

42
Notes to Facilitator Learning Activity 5
Duration: 15 minutes Understanding Values

Resources • Locate section 6.2 in workbook.

• Draft concept document
• Ask participants:
• Flipchart, markers and tape • Rank the characters
described, on your own, from
the most unpleasant character
During the debriefing, indicate that (1) to the least unpleasant (5).
values are the degree of importance a • Write a few words beside each
person assigns to certain actions. character to indicate the
Values make up the ethical and moral reasons for your choice.
standards we have, that are usually
imparted to us by our families and our • Put participants into groups and
communities through modelling and ask them to share their ideas with
upbringing. They are transmitted from other members of the group. Ask
person to person, but require personal them to reach consensus on a
choice and commitment. A person’s group rank order through group
values are usually very hard to change discussion. Write the group
because they are deeply embedded ranking in the column provided.
and are often associated with a
person’s beliefs. This has implications • Debrief by asking (see notes):
for us as message designers if we • How similar were the values
want to bring about a change in those held within the group?
values which cause negative conflict in • How difficult was it to reach
a society. consensus
• How did you reach
consensus?

43
Notes to Facilitator Learning Activity 6
Duration: 15 minutes Understanding Attitudes

Resources • Ask participants to listen to each

statement you are about to read
• Draft concept document
out, and to position themselves at
• Flipchart, markers, and tape one side of the room if they agree
or at the other side if they
disagree with the statement. If
Note 1: During this exercise, the they do not have strong feelings,
participants must not spend a lot of they should position themselves
time thinking about their responses. somewhere else along the
Once the statement is read out, continuum. The middle position
participants should move to their indicates that the participant has
positions in the room. “no strong feeling either way”. If
participants are unsure they
Note 2: To get the most out of this should sit down (see note 1).
exercise you should make up your
own statements, so they are relevant • Read the following series of short
and controversial in your community. statements to participants one by
one (see note 2):
Note 3: The purpose of this exercise is • People of different races or
to help participants understand that an ethnic groups should not inter-
attitude relates to a judgement a marry.
person makes about something – is it • Certain crimes, such as using
good or bad, positive or negative? drugs, should carry the death
penalty.
• Parents should not be allowed
to hit their children to discipline
them.
• People infected with HIV
should be registered in a
central register that anyone
can access for the
community’s protection.
• Marijuana should be legalised.

• Debrief (see note 3).

44
Notes to Facilitator Learning Activity 7
(Option A)
Duration: 15 minutes Understanding Motivation

Resources
• Flipchart, markers, and tape • Locate section 6.3 in the
• Workbook workbook.

• Ask participants (see notes):

Note 1: Discuss the list of motivated • What motivates or motivated
people in the workbook: Mother the people listed?
Teresa, Mahatma Gandhi, Joseph • What are the top five things
Stalin, Tina Turner, Martin Luther King, that motivate your behaviour?
Nelson Mandela, Aung San Suu Kyi, • How do these things influence
Shirin Ebadi, and Bill Gates. You may your behaviour?
want to add or delete names from the • What can be done to influence
list to make it more culturally people’s motives?
appropriate.
• Write on flip chart.

Note 2: The exercise is not intended

to be heavy or controversial, but to
provoke discussion. The purpose is to
help us recognise that individuals are
motivated by similar stimuli in different
ways, and in different circumstances.
Motives for certain types of behaviour
are not always static.

45
Notes to Facilitator Learning Activity 7
(Option B)
Duration: 15 minutes Understanding Motivation

Resources • Discuss as a group:

• Flipchart, markers, and tape • What are the top five things
that motivate your behaviour?
• How do these things influence
your behaviour?
• What can be done to influence
people’s motives?

• Write on flip chart.

Notes to Facilitator Learning Activity 8

Duration: 15 minutes Changing Behaviour

Resources • Write Behaviour Change

• Draft concept document Equation on flip chart and explain.
• Flipchart, markers, and tape Relate it to the participants’ ideas
from previous activities (see
note).
Note: K + A + S +E + V = B
(Knowledge + Attitude + Skills + • Divide participants into pairs and
Environment + Values or beliefs = ask how knowledge, attitudes,
Behaviour change). skills, environment and
values/beliefs may be combined
You should explain that our ultimate to assist the following groups of
goal is to change people’s behaviour, people. Choose examples
so they will be less likely to become relevant to your culture or your
involved in violent conflict. Knowledge conflict situation, or allocate one
is only one factor in the behaviour of the following examples to each
change equation. Attitudes and skills pair of participants. Ask how they
also need to be considered. People can encourage:
need to be aware of the consequences • men not to beat their wives.
of their current behaviour and those of • members of one ethnic group
the new behaviour. Then they can not to malign members of
develop a positive attitude towards another ethnic group.
changing their behaviour and • members of one group not to
developing skills that will enable them stereotype members of

46
to carry out the new behaviour another group.
successfully. Further, they need to be • young men not to go out
in an environment that is peace drinking in order to get drunk.
enhancing and supportive. People’s
behaviour is also influenced by values • Ask for feedback from groups and
and beliefs, which often run deep into write on flip chart.
a community making them harder to
change. However, even when all of
these elements are present the
individual may still choose not to adopt
the peaceful, alternative behaviour.
Analysing the various behavioural and
motivational issues is needed to
enable us to look beyond the obvious
for our storyline.

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Do you understand the

dynamics of this session? relationship between knowledge,
• What, if anything, should you attitudes, values, beliefs, skills,
change for future training? environment and behaviour
• How did participants respond to the change?
values, attitudes and behaviour • Did you think more/less time
activities? should be given to the activity we
have just done?
• Do you have something you
wanted to share but could not,
and why?

47
Notes to Facilitator Learning Activity 9
Duration: 15 minutes Getting the Right
Message

Resources • Locate section 6.4 in Workbook.

• Draft concept document
• Flipchart, markers, and tape • Put participants into pairs based
• Workbook on their understanding of the draft
concept document. Ask them to
state:
Ensure that participants know it is • Three key messages that the
essential to have an understanding of serial radio drama will
where the audience is in terms of its communicate (in their own
knowledge, attitudes, skills, words). Then rate them in
environment, values and beliefs. order of importance.
Understanding the audience helps us • Are the messages attempting
to get the right message. to impact the audience’s
knowledge, attitude, skills,
environment, values or
beliefs?
• Do these messages seem
appropriate and relevant to the
target audience?

• Debrief.

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Do you feel that it is possible to

dynamics of this session? influence a person's behaviour
• What, if anything, should you through the mass media?
change for future training? • Do you feel the messages will be
successful in influencing
K.A.S.E.V?
• Did you think more/less time
should be given to the activity we
have just done?
• Do you have something you
wanted to share but you could?
Why?

48
Notes to Facilitator Learning Activity 10
Duration: 15 minutes Identifying the Target
Audience
Resources
• Locate section 6.5 in workbook.
• Workbook
• Divide participants into pairs and
ask them to create an imaginary
profile of the target audience in
outline form (based on the
concept document). They should
include the person’s name, age,
socio-economic status, place of
birth, imaginary family members,
etc.

• Debrief on the exercise.

Notes to Facilitator Learning Activity 11

Duration: 20 minutes Being Relevant to the
Target Audience
Resources
• Flipchart, markers, and tape • Ask participants:
• Workbook • What kind of language would
you use for the person you
Ensure the discussion includes the have just described (see
following: notes).
• Local idiom (characters in a drama • How would you present the
should use the same local idioms, messages that were identified
analogies, metaphors, expressions, in 6.4, so the audience would
slang, similes and inflections that accept them?
are used locally) • What difficulties do you
• Local humour (what makes the foresee while doing this?
target audience laugh?) • How could you overcome the
• Vocabulary (the vocabulary of difficulties?
educated characters in a radio
drama should be simple language • Write on flipchart.
that can be equally understood by
those who are not educated. If the
audience is children, carefully
screen your vocabulary to eliminate
words they do not know.)
• Proverbs (if they're commonly used
in the culture, then use them)

49
• Language level (is a high literary
form appropriate, or should it be
informal?)

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What have you learnt as a result

process and outcomes? of this exercise?
• How was this result different from • What areas do you think you need
or similar to what you expected? more help in?
• How else could we have gotten
this information across?

50
Notes to Facilitator Learning Activity 12
Duration: 30 minutes Bringing it All Together

Resources • Locate section 6.6 in workbook.

• Draft concept document
• Workbook • Ask participants to pick one of the
3 key messages they identified in
exercise 6.4 in the workbook and
turn it into a story for the target
audience.

• Ask some participants

(volunteers) to read their stories
(depending on time available).

• Debrief.

Quality Check
For Facilitators: For Participants:

• In this section, what happened in • How has this activity helped you
terms of process and outcomes? identify the right message for the
• If the participants raised problems, audience?
how do you plan to respond to • How was it or was it not helpful to
them in future trainings? have feedback from other people?

51
Unit 7 – Researching the audience

Purpose
The purpose of this unit is to help script writers understand their audience. They
must consider the listeners’ lives, environment, motivations, stories, idioms,
humour and fears. It provides participants with the tools they will need for the
field learning experience, beginning with classroom-based activities to assess the
conflict environment. Then it will give participants a structured opportunity to get
out and meet the audience, as well as providing the tools to learn from them
through personal interviews and observation.
Although participants may already feel they know a lot about the audience, these
tools will enable them to look at their own society/community/group objectively.
The exercise will raise awareness of the issues facing the community and allow
participants to gather relevant information regarding those issues (via interviews
and informal conversations). It is important that participants approach this
exercise with an open mind. Even if they feel they completely understand the
target audience’s situation, they are likely to be of different socio-economic status
or educational level than the target audience. Facilitators will accompany
participants to assess their interactions with and approaches to members of the
community.

Note:
• Appropriateness of a field excursion will depend on the local situation;
exercises will need to be adapted accordingly.
• Depending on time allocated to the field excursion, the exercise times may
need to be adjusted.

Resources
• Workbooks
• Flip chart from Unit 6 Activity 2
• Brief – Conflict environment
• Brief – Observation Guidelines
• Brief – Target audiences

Learning objectives
By the end of this unit participants will be able to:
• Profile the conflict environment
• Identify appropriate interview and observation techniques to gather story
material from the target audience
• Analyse their reactions to the field trip experience
• Apply field research to develop realistic character sketches and plots for
radio drama
• Develop appropriate conflict resolution messages for the audience

Duration: All day

52
Notes to Facilitator Learning Activity 1
Duration: 20 minutes The Conflict Environment:
Pre-, Hot or Post-Conflict?
Resources
• Workbook • Explain that this activity is
• Brief_Conflict environment preparation for the field learning
exercise. It is designed to give
participants an overview of the
conflict environment and provide
them tools for gaining an objective
understanding of the target
audience.

• Ask participants to take 10 minutes

to put a tick or a cross against each
question and then total up the
number of ticks at the bottom.

• Locate section 7A.1 in Workbook.

When the exercise has been

completed ask:

• Is your society in pre-, hot- or

post-conflict?

• Does this confirm what you

already knew?

• Explain that it is important to

have an understanding of the
conflict environment before
going onto the field to observe
and to listen to the target
audience. This is important
because people are
dramatically affected by their
environments, which will affect
the way messages are
developed.

53
Notes to Facilitator Learning Activity 2
Duration: 30 minutes The Conflict Environment:
Risk Factors

Resources • Locate section 7A.2 in workbook.

• Flip chart from unit 6 activity 2 • Explain the difference between
• Workbook direct violence, structural violence
and cultural violence (see notes).
Be sure you are fully briefed on the • Display flip chart developed in unit
document Brief_Conflict environment, 6 activity 2, which broke the
which explains different types of conflict down into predisposing,
violent conflict and gives examples of enabling and reinforcing risk
how to do learning activity 2. factors.

• Divide participants into 3 groups

(each one will tackle a different
category of violence).

• Ask participants to:

• Think of one example of each
type of violence in their
society.
• Associate one risk factor with a
violent action.
• Think of a possible message
that could be developed to
address that risk factor.

• Debrief.

54

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • How was it helpful to profile

appeared critical to the learners? the conflict environment in this
• How was this result different from, way?
or similar to, what you expected? • What new things did you
• Have you learnt something new learn?
that inspired you to change future • How has this activity helped
trainings? you in developing messages
for conflict transformation?
• How has this activity changed
you or your perceptions?

Notes to Facilitator Learning Activity 3

Duration: 15 minutes Knowing your Audience

Resources • Ask participants:

• Workbook
• How well do you know the
• Brief_Target audiences target audience?
• How well do you know their
Note 1: The following activities relate stories?
to what participants will be doing • What is the best way to get
during the field learning experience. new ideas for stories?
Note 2: It is important to emphasise • Explain that the best way to get
that although the writers may feel they new ideas for stories, and to stay
know the people they are writing about in touch with your listeners, is to
(or may even come from the target regularly sit in the bars, cafés, and
audience), it is likely that they have a bazaars or under a tree - watch
higher level of education. what people do, listen to their
stories, laugh at the latest jokes,
note the latest fashions and drink
tea or coffee with them (see note
2) In other words share their lives
and work with them.

55
Notes to Facilitator Learning Activity 4
Duration: 20 minutes Briefing – Field Research

Resources • Locate section 7A.3 in workbook.

• Workbook
• Explain that besides “hanging out”
with the target audience, it is also
necessary to have some more
formal, objective tools to help us
understand community values,
audience realities and cultural
tastes. Remember that to
succeed as a story, a drama
needs to accommodate local
beliefs and knowledge as much as
possible. It needs to include local
humour and, if possible, music
popular with the target audience -
whether it is traditional, pop or
Western (but do not assume that
you know what is popular). Some
of what you need to make a story
will be known intuitively and some
will be discovered through
observation, informal contact or
brainstorming with others.
However, much of what you need
to know is best learnt through
research among your target
audience. This is the purpose of
the field learning experience: to
give you the tools to do that
research.

• Explain that the questions in

section 7A.3 are designed to help
script writers find stories and
characters for their drama. Other
questions or issues may arise –
so keep notes.

• Ask participants to read through

the questions and check that they
understand everything. Explain

56
 that some of the questions will be
answered through observation
and others by talking to individuals
or groups.

Notes to Facilitator Learning Activity 5

Duration: 5 minutes Logistics

Resources
• Explain the details of transport for
• Workbook the field learning experience (see
note 1).
Note 1: If security does not allow for
• Emphasise that it is important that
the field learning experience to take
participants do not treat the field
place, you may want to invite guests
learning experience as a holiday,
(specialists or representatives of the
or as a ‘tourist’ thing. They need
target audience into the training room)
to follow relevant observation
and have exercises that can be
rules (see note 2).
adapted to the situation. This could be
done with one-on-one interviews or
focus group-type discussions.

Note 2: Please see the document

Brief_Observation Guidelines and
decide whether it is appropriate to
apply some of the “observation
guidelines” to your group.

57

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • Was the purpose of the field

appeared critical to the learners? learning experience clearly
• How was this result different from understood?
or similar to what you expected? • Were all instructions clearly
• Have you learnt something new understood?
that inspired you to change future • Were expectations known to
training? you during the course of the
field learning experience?

Notes to Facilitator Learning Activity 6

Duration: 5 hours In the Field

Resources • Divide participants into pairs and

• Workbook begin field-learning experience, in
accordance with local traditions
and conditions.

• Be sure participants know details -

such as times of transport, pick-up
points, arrangements for lunch
etc.

58
Notes to Facilitator Learning Activity 7
Duration: 30 minutes De-briefing – Impressions
from the Field

• Draw out participants' impressions

Resources using a medium of their choice
(photographs, artwork, songs,
dramas, skits, monologues,
poems, sketches) to help them
communicate the outstanding
issues and impressions made
upon them during their field
experience.

• Ask participants whether or not

they encountered any difficulties:
• with the field exposure trip
• with members of the
community/communities
• with other participants
• with their own reactions
• with facilitators from the
training course
• anyone else

• Ask participants:
• Were you able to accomplish
your goals (i.e. reaching a
better understanding of the
context, stories and characters
which will help them write a
drama)?
• What did you learn from the
field experience?

59
Notes to Facilitator Learning Activity 8
Duration: 30 minutes De-briefing – Research in
the Community

Resources • Locate section 7A.3 in Workbook

• Workbook (community research questions).
• Flipchart, markers, and tape
• Work through the main questions
asked in the worksheet,
comparing ideas and findings of
different participants.

• Write the main findings on a flip

chart.

• Ask participants if there were any

questions they could not answer.
If so, do they know where they
could get the information, if not
from their audience?

Quality Check
For Facilitators: For Participants:

• What happened during the • What have you learnt as a result

debriefing in terms of processes of this exercise?
and outcomes? • How did your experience differ
• How will you respond in future from others?
trainings to the problems • How was it or was it not helpful to
participants may have raised? listen to the ideas and comments
• How was this result different from from other people?
or similar to what you expected? • Where do you think you will need
more help?
• What suggestions do you have to
improve the activities you have
been involved in today?

60
Notes to Facilitator Learning Activity 9
Duration: 30 minutes Turning Research into
Characters

Resources • Locate section 7B.1 in workbook.

• Workbook
• Ask participants to write a
description on one or more of the
characters they encountered
during the field trip.

• Discuss.

Notes to Facilitator Learning Activity 10

Duration: 30 minutes Turning Research into
Stories
Resources
• Workbook • Locate section 7B.2 in workbook.

• Divide participants into groups

You may want to provide an example and ask them to develop a
such as the one below: storyline based on a scenario that
they encountered during the field
“A teenager in India observed that his trip that could give rise to conflict
older sister had died during childbirth, (see notes).
trying to produce a son for her
husband against her doctor’s advice, • Discuss.
the husband himself had suffered little.
The beautiful sister he adored was
gone, her dreams ended. But her
husband had a new wife and was
prospering. The unfairness of it all
bothered this young brother.”
(Brooke, p.73)

61
Notes to Facilitator Learning Activity 11
Duration: 30 minutes Turning Stories into
Messages
Resources
• Workbook • Locate section 7B.3 in workbook.
• Flipchart, markers & tape
• Ask participants to write down
how a story development team
If you used the example in the might use the scenario developed
previous activity, suggest that this in the previous exercise to
scenario provides story developers develop a message (see notes).
with a golden opportunity to attack the
cultural insistence on sons. And it’s • Brainstorm ideas with the group
possible to do this without alienating for the remainder of the time. Ask
the men by singling them out as the them to read their stories and then
cause of the problems. By pitting the offer suggestions.
brother against the husband, it’s a
male himself who is attacking the • Write ideas on a flip chart.
negative social consequences caused
by the emphasis on male babies. Due
to the man-to-man nature of the
conflict, even men who actually
behave like the husband will be able to
identify with the boys’ strong feelings
for his cherished sister and his anger
towards her callous husband.

Quality Check
For Facilitators: For Participants:

• What happened during this section • What did you learn as a result of
in terms of process and learning these activities?
outcomes? • How did the field research help
• How did you encourage the stimulate ideas for realistic
participants to go beyond what was characters and stories?
expected and to show initiative? • How difficult was it to adapt real
• How did you demonstrate that you life characters and scenarios into
believe in the potential of the stories?
participants? • How difficult was it to turn stories
into messages?

62
Unit 8 – Conflict Transformation 2

Purpose
The purpose of this unit is to build on the field experience of the previous day. It
deals with perceptions and the role perceptions play in conflict escalation and
reduction. It seeks to provide concrete and practical examples of how to analyse
and use the learning from the field, and how to include it in writing radio soap
characters.

Note
It is very important to build on the personal experience of the participants and
their own perceptions and try to come up with a common definition and approach.

Resources
• Flipcharts, markers, and tape
• Brief_Analysing Conflict
• Handout_ Old Young Woman
• Handout_Vase Faces
• Handout_Triangle
• Handout_Boxes
• Handout_Positions v Interests

Unit objectives
By the end of this unit, participants will be able to:

• identify and understand the role of perceptions

• distinguish between positions and interests
• use this learning to write characters for the soap opera

Duration: 120 minutes

63
Notes to Facilitator
Learning Activity 1
Duration: 30 minutes Conflict Transformation
and Win-win Solutions

Resources Opening: Let’s explore some of the

• Flip-chart, markers and tape principles involved in conflict
• Prepared flip-chart transformation (see Note 1)
• Brief_Analysing conflict
Brainstorm with participants ideas
about conflict transformation, and the
Set up: participants to sit opposite each other various level of conflict transformation
Resources: make sure there are tables The cooperation/competition exercise
participants can sit at, facing one another. (see Note 2):
Note 1:
Before starting make sure you’ve read and Instructions:
understood Brief_Analysing Conflict). • Please pick a partner and sit
opposite your partner, with a table
Note 2: between you.
This exercise might not go well with older age • With your elbow on the table, grasp
group, in which case you can suggest another the hand of your partner – you
exercise. should each be using the same
hand.
Debrief: • Your challenge is to have the back
• Most people will try to force their partner’s of your partner’s hand touch the
hand to the table – arm-wrestling. Those table as many times as possible.
who work together increase their hits: You get one point for each time that
both win! happens. You have 30 seconds.
• We often perceive situations as • Ready? Go.
adversarial (ie the other must lose in • After 30 seconds: Time!
order for me to win) even when they are
not. Debriefing Questions:
• Win-lose behavior encourages further
win-lose behaviour. • How many points did the pairs get?
• The opposite is also true: When we see a • For those who worked together:
situation as an opportunity for what was your reasoning?
cooperation, and behave accordingly, we • For those who competed: why?
can transform the situation into win-win • Can you apply the learning to a
problem solving. personal situation?
• This requires switching off the automatic
pilot and making a conscious choice.

64
Notes to Facilitator Learning Activity 2
Duration: 30 minutes
Set up: participants sitting in a circle, in
small groups, brainstorming. Room • Exercise of perception using
should be spacious to allow movement. Handout_ Old Young Lady, and
Handout_Vase Faces, ask
participants to work in groups of
Resources 3 and come up with one
• Handout_ Young Old Lady agreement about what they see
• Handout_Vase Faces in the pictures.
• Handout_Boxes
• Debrief (see Note 1), and
Note 1: It is possible to interpret the Brainstorm with participants on
two pictures in at least two different what role perceptions play in
ways conflict

Debrief: • Facilitated discussion on

• Discovering interest is an - Perceptions and conflict
exercise in discovering transformation
perceptions - Principle of perceptions
• Appreciating perceptions helps
us distinguish between people • Exercise thinking outside the
and problems box; distribute and discuss
• We tend to attribute behaviour Handout_Boxes
to « badness », often it comes
from having a different
perception
• Understanding perceptions can
help us expand the range of
possible solutions

Principles of Perceptions
• We use perceptions to make
sense of the world. Our brains
fill in information to fit some
pattern we know
• Perceptions are not “right” or
“wrong”, they just are
• Perceptions can limit our options
for acting transform the situation
into win-win problem solving.
• This requires switching off the
automatic pilot and making a
conscious choice.
• We can change our perceptions,
we can learn from each other
• MY perception make perfect

65
 sense to ME, not necessarily to
YOU
• You don’t have to AGREE with
my perceptions, just RESPECT
them.
• Showing respect from my
perceptions is showing respect
for me. That makes it easier for
me to listen to and work with
you.

Notes to Facilitator Learning Activity 3

Duration: 30 minutes

Set up: participants sitting in a circle, • Ask the group to define the words
and able to see the flipchart issue, position and interest.
Record what they say on the flip
chart, then give them the
Resources Handout_Positions v Interests.
• Flip chart, markers and tape Discuss.
• Prepared flip charts
• Handout_Positions v Interests • Exercise positional bargaining
• Handout_Triangle Position Vs interests in
“bargaining” negotiation.
Debrief:
Suggest the following definition • Show the triangle of position and
• An issue is a matter requiring interest. (Handout-Triangle) and
agreement about which one has one discuss
or more interests.
• A position is a specific proposal to • Brainstorm on personal approach,
address an issue; or point of view personal goals/issues.
held by an individual or group
regarding an issue.
• An interest is why something is of
importance to someone; something
for which one feels concern or in
which one has a stake.

66
Notes to Facilitator Learning Activity 4

Duration: 30 minutes Practical exercise on

Positions and Interests:
Set up: With participants, choose a local issue
You can put people in groups of 3 or where positions and interests can be
4 to identify interests, or open the clearly identified
discussion to the larger group
Ask participants to take a minute and
Resources identify who has a stake in the issue
• Flip charts, markers and tape
Ask them to identify the positions of
those stakeholders (one sentence
Debrief: each) and share those in the group
Identify clearly the steps for the
participants Ask the group to brainstorm the
1. raise the issue interests of the parties with a stake in
2. discover mutual interests the issue
3. generate options
4. develop agreements Record answers on flip chart

Ask the group if the issue is correctly

framed (i.e is it objectively phrased, or
does it contain loaded, or emotional
words, terms, or expressions?)

On the same issue, ask the group to

brainstorm possible areas of common
ground, where parties could reach
some agreement or develop a joint
action project.

67
Unit 9 – Theory of Soap

Purpose
The purpose of this module is to help participants understand the theory of how
soaps work – how they attract and keep their audiences, and how the messages
are successfully passed on.

Resources
• Flipcharts, markers, and tape
• Workbook
• OHP_Hear and Forget
• Prepared flipchart

Unit objectives
By the end of this unit participants will be able to:

• Outline the theory of soap for social change

• Identify the elements which make a successful soap for social change
• Demonstrate that they can use these elements in constructing a drama

Duration: 150 minutes

68
Notes to Facilitator Learning Activity 1
Duration: 30 minutes Identify Elements of a
Successful Serial Drama
Resources
• Flipchart, markers, and tape • Put up the OHP_Hear and Forget
• OHP_Hear and forget slide.
• Workbook
• Ask the participants to comment
on what’s written, and to discuss
Note 1: Explain that audiences learn how it is relevant to the design of
from the characters in dramas that do successful soaps for social
things, experience things and learn change (see note 1).
from these things. If the audience
identifies closely with the characters it • Ask the participants to list on a
will be as though they were flipchart the main elements of
themselves doing and experiencing entertainment soaps they have:
the action and learning in the same seen on the TV; heard on the
way as the characters. radio; or discussed during the
workshop (see note 2).

Note 2: Prompt with suggestions:

• Entertainment • Discuss the items on the list and
• High drama add any that are missing.
• Action
• Easily recognisable characters
• Real time action; in other words
if a character becomes
pregnant in the first week then
her baby isn’t born until the
soap has been running for nine
months
• Action unfolds consecutively
(no cutting back and forth in
time)
• Humour/funny
• Interwoven plots and sub-plots
• Conflict between characters
• Cliff-hanger endings

69
Notes to Facilitator Learning Activity 2
Duration: 30 minutes Elements That Make a
Successful Soap for
Social Change
Resources
• Flipchart, markers, and tape
• Ask participants to think about,
and to discuss in small groups,
Prompt with suggestions: additional elements that are
• Messages (intended outcome) necessary for a serial drama for
• Characters that are close to the social change.
audience in terms of the
challenges they face and the • List on flipchart and discuss.
experiences they undergo
• Setting is close to the • Ask participants to suggest ways
audience’s reality in which listeners or members of
an audience receive and
Prompt with suggestions: understand messages.
• Repetition
• Empathy
• Action

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected or you?
experienced previously with other
learners?
• Have you learnt something new
that inspired you to change future
training?

70
Notes to Facilitator Learning Activity 3
Duration: 90 minutes Applying Elements for a
Successful Soap
Resources • Tell the participants that they have
• Flipchart, markers, and tape 20 minutes to work in small
groups (maximum of three people
per group) to develop a storyline
Check that each group’s storyline for a short, entertaining drama
includes all the different elements with as many of the elements
necessary to a soap, and that they listed on the flipchart as possible.
have not put in more than three The drama should not contain
characters. more than three characters and
must have a minimum of three
scenes in different locations.

• Emphasise that you are not, at

this stage, asking them to include
a message in their drama.

• Ask each group to write out the

drama based on their storyline
after the 20 minutes are up. They
have 40 minutes for this.

• Ask each group to act out their

dramas after the 40 minutes are
up.

• Ask the participants to identify in

their workbooks
(Workbook_Theory of soap) the
elements that they recognise in
each of the dramas written by
their colleagues

• Discuss the success of each

drama in terms of the list. What is
missing?

71
Unit 10 – Plots and Characters

Purpose
This is a practical session building from the previous unit on the theory of writing
soap opera. Working from the concept document, participants will pool their
ideas through a facilitated process of ‘brainstorming’ to develop a plot summary
for the entire series and character sketches, which will lay the foundation for the
serial radio drama. The work that is done during these next three units will form
the basis for the script writing activities for the remainder of the course.

Resources
• Flipcharts and markers
• Draft concept document
• Handout_Sample character
• OHP_Brainstorming
• Workbook

Unit objectives
By the end of this unit participants will be able to:

• Work as part of a team to develop a series plot summary for a radio serial
drama
• Work as part of a team to develop character sketches for a radio serial drama
• Critique their work against the requirements of the concept document

Duration: 90 minutes

72
Notes to Facilitator Learning Activity 1
Duration: 5 minutes Brainstorming Rules

Resources • Show overhead slide on

• Prepared Flipchart or use brainstorming rules
OHP_Brainstorming (OHP_Brainstorming) or prepared
flip chart to remind participants
You may want to prepare a flip chart how the process works (see
with the rules of brainstorming as notes).
outlined in the facilitator’s guide, or
use the OHP provided. Having the flip
chart sheet prominently displayed on a
wall of the room may better serve as a
constant reminder to participants,
especially if they are not used to this
form of learning.

Notes to Facilitator Learning Activity 2

Duration: 35 minutes The Series Plot Summary

Resources • Locate section 10.1 in the

• Draft concept document workbook as well as the draft
• Flipchart, markers and tape concept document at the front of
• Workbook the workbook (see note 1).

• Ask participants whether the

Note 1: The plot that will be developed characters or the plot comes first
here will form the basis of the actual (see note 2).
serial radio drama and will therefore
be based on the draft concept • Remind participants that the main
document. We suggest that you plot must contain a strong and
attach the draft concept document at compelling story built around an
the front of the workbook so that it is attention-getting central character.
easily accessible and participants will The main plot is the most
not lose it. influential factor in motivating
listeners to keep tuning in to the
Note 2: In reality plot and character serial. Therefore, it is wise to map
development does not happen it out in complete detail before
sequentially, but concurrently. finishing any other plots.
However, most writers find it easiest to
begin by drafting the main plot, which • Brainstorm with participants a
we are going to do now. Ideas for summary of the main plot and
write down the main points on a

73
characters and other plots will flip chart (see note 3).
inevitably come to mind at the same
time. If the writer begins drafting the
treatment in a notebook, then ideas
about other characters and sub-plots
can be jotted down as they come to
mind. Simulate this process on flip
charts. There is also space provided
in the workbook.

Note 3: During this session,

encourage the participants to develop
a main plot, establishing it in time and
in setting. One sheet of the flip chart
should be kept for the sole purpose of
developing a location/setting map.
Place the sheets on which the story is
being developed around the walls of
the training room – as elements are
added, you can move from flip chart to
flip chart to build up the whole
storyline.

Notes to Facilitator Learning Activity 3

Duration: 35 minutes Character Sketches

Resources
• Draft concept document
• Flipchart, markers and tape • Locate section 10.2 in Workbook.
• Handout_Sample character
• Workbook • Remind participants of the
essential elements of developing
characters (see notes).
• Every story revolves around one or
more major characters. Other • Hand out sample character sketch
characters will be involved both (Handout_Sample character) and
directly and indirectly with this explain that this is an example of
person and with the action of the a character sketch that was
story. However, it is the main developed for a soap opera in the
characters who experiences the Middle East.
main action, the dramatic conflict
and the climax. • Ask participants to review the
• The personalities and behaviour of character/s they developed after
the main characters are very the field learning experience in
important to the development and workbook section 7B.2.
success of the story.
• The main character must be able to • Brainstorm a sketch or profile of
attract and hold an audience the main character and two or

74
 whether they are the central, three secondary characters. Use
uniting character or not. the details as outlined in the first
• Characters should exhibit a range column of the table in section 10.2
of emotions. Explain that there is a of the workbook as a guide. The
“spectrum of emotion.” For characters should fit the
example, characters may feel requirements of the draft concept
confusion, hurt, understanding, document.
acceptance and then forgiveness.
They do not go directly from anger • Write details of each character on
to forgiveness, acceptance to love, a separate sheet of the flip chart.
etc. A number of juxtaposed
emotions should be used to give
depth and emotional appeal to the
characters.
• All characters in a serial radio
drama should be: believable,
appropriate to the message,
credible sources for delivering the
message, relevant to the audience
and varied in personality.

Notes to Facilitator Learning Activity 4

Duration: 15 minutes Reality Check

Resources • Ask participants

• Flipchart, markers, and tape • Is the plot credible and
relevant to the audience?
• Is the story entertaining?
• Are the characters realistic and
believable?
• Are the characters appropriate
to the message?
• Are the characters relevant to
the audience?
• Is there enough variety in the
characters?
• Are the characters displaying a
range of emotions as they, and
the story, develop?
• Is the main conflict resolution
objective, identified in the
concept document,
achievable?

• Identify and list any problems with

a note to rectify them before
scripting takes place.

75

Quality Check

For Facilitators: For Participants:

• What attitudes and aptitudes • Was it helpful doing this

appeared critical to the learners? activity in a group?
• How was this result different from • Would you have been able to
or similar to what you expected? do it as well/better/worse on
• Have you learnt something new your own?
that inspired you to change future • Are you satisfied with the end
training? product?
• Did you think more/less time
should be given to the activity
we’ve just done?
• What have you learnt as a
result of this exercise?
• In what areas do you think you
need more help?
• Have you any suggestions as
to how this exercise could be
improved?
• Should more time have been
given to this activity?

76
Unit 11 – Episode Plot Summary

Purpose
This is a practical session for building on the series plot summary and character
sketches developed in unit 10. Participants will work individually to develop a plot
summary for four episodes of the serial radio drama, ensuring that the intended
outcome for each episode is subtly woven into the storyline.

Resources
• Flipcharts, markers, and tape
• Workbook
• DOC_Episode plot summary

Unit objectives
By the end of this unit participants will be able to:

• Write an episode plot summary

• Critique their work against the requirements of the concept document

Duration: 115 minutes

77
Notes to Facilitator Learning Activity 1
Duration: 25 minutes Creating Appropriate
Emotional Appeal

Resources
• Flip Chart, markers, and tape • Explain how emotional appeal is
created and why it is important
Note 1: Appropriate emotional appeal (see note 1).
is used to make the audience connect
emotionally with the characters. This • Give the participants an example
can make programmes universally of a specific emotional
appealing and create a new perspective. Together brainstorm
understanding in listeners. possible storylines that could be
used to match and to contradict
There are two different ways to use the identified example (see note
emotional appeal to persuade and 2).
identify with your target audience.
• Write the suggestions on the flip
First, identify the target audience’s chart.
emotional perspective. Then the story
line can match it, which establishes
‘common experience’ with the
audience. This creates a specific
reaction, which ensures the way the
audience will see or judge the
situation. This technique can serve as
insurance for reaching intended
outcomes.

Second, the plot can contradict the

identified emotional perspective, but
then support it with truth and logic. It
shows that their emotional perspective
is not foolproof. This will also appeal to
the target audience emotionally and
allow the audience to reach a new
understanding.2

Note 2: Identify a culturally appropriate

example to demonstrate how to match
and contradict emotional appeal.

2
Turan Ali, “Making a Difference Through Drama Serials: Harnessing the Power of Drama,”
Berlin-Institut für Weltbevölkerung und globale Entwicklung: Berlin, 2002, p.11-12.

78
Notes to Facilitator Learning Activity 2
Duration: 60 minutes Writing an Episode Plot
Summary

• Hand out the example of the

Resources episode plot summaries for the
• Draft concept document “Peace House” (DOC_Episode
• Workbook plot summary). Explain that the
purpose of the episode plot
• DOC_Episode plot summary summary is to describe the basic
story line of each episode.
Facilitators may want participants to
• Locate section 11.1 in workbook.
work on the same two episodes or, if
there are very few participants, for
• Ask participants to work on their
each individual to work on different
own and write a summary of the
episodes.
first two episodes of the drama
they’re developing (30 minutes
per summary).

• Participants should begin

preparing each episode by
checking the draft concept
document and reviewing the
message content that must be
included.

79
Notes to Facilitator Learning Activity 3
Duration: 30 minutes Review Episode Plot
Summary

Resources • Ask participants to read their work

• Draft concept document to the whole group (see note).
• Flipchart, markers and tape
• Ask participants after each
episode plot summary is read:
Depending on the time and the • Is the storyline credible and
number of students, every participant relevant to the audience?
should read at least one of their • Is the storyline entertaining?
episode plot summaries. • Is the main conflict resolution
objective for the episode (from
the draft concept document)
understandable and
believable?

• Identify and list any problems with

a note to rectify them before
scripting takes place.

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • Was it helpful doing this activity

appeared critical to the learners? individually?
• How was this result different from • Are you satisfied with the end
or similar to what you expected? product?
• Have you learnt something new • Were you able to complete the
that inspired you to change future task in time?
training? • Have you learned something new
as a result of this exercise?
• In what areas do you think you
need more help?
• Have you any suggestions as to
how this exercise could be
improved?
• Should more time have been given
to this activity?

80
Unit 12 – Script Outline by Scenes

Purpose
This is a practical session building on the episode plot summaries developed in
unit 11. Participants will work in groups to develop the episodes scene-by-scene,
paying particular attention to the draft concept document to ensure that message
content is included. Thought must be given to the development of sub-plots,
scene divisions, action, setting, personalities of the characters, emotions to be
stressed, and cliff-hangers on which each scene and episode itself will end.

Resources
• Flipcharts, markers, and tape
• Workbook

Unit objectives
By the end of this unit participants will be able to:

• Develop an episode of a serial radio drama scene-by-scene

• Critique their work against the requirements of the concept document

Duration: 90 minutes

81
Notes to Facilitator Learning Activity 1
Duration: 60 minutes Write an Episode
Summary, Scene by
Scene

Resources • Locate section 12.1 in workbook.

• Draft concept document
• Workbook • Remind participants that they
should begin preparing each
episode by checking the draft
Note 1: You may wish to allocate concept document and reviewing
different episodes to each group or the the message content that must be
same episode can be given to included.
everyone. If groups manage to finish
one episode within the 60 minutes, • Divide participants into groups of
they should begin another episode. two or three, so they can begin a
scene-by-scene synopsis
Note 2: Writers who have some (narrative) of the serial radio
experience may want to experiment drama (see note 1).
with the introduction of sub-plots.
However, first time script writers • Make sure participants include
should focus on developing the main information about the division of
plot. Sub-plots are mini-stories within scenes, the action, the setting, the
the main story, which help enrich and personalities of the characters, the
add tension to the drama. They can emotions to be stressed, and the
also convey the message. ‘cliff-hanger’ on which each
episode will end (see note 2).

• Remind participants that, as a rule

of thumb, they should allow 4
scenes per 20 minute episode.
But that when they’re more
experienced one episode may
consist of one or even ten scenes.

82
Notes to Facilitator Learning Activity 2
Duration: 30 minutes Review the Scene-by-
Scene Summary
• Ask one member of each group to
Resources read their work to the whole group
• Concept document (see note).
• Flipchart, markers, and tape
• Ask participants after each
summary is read:
• Is the story credible and
relevant to the audience?
• Is the story entertaining?
• Are the sub-plots entertaining?
• Is it clear what is happening in
each scene?
• Is it clear how the transitions
between scenes will be made?
• Is it clear where the story is
going?
• Is the story coherent in time
and in place?
• Is the main conflict resolution
objective for the episode (from
the concept document) easy to
understand and believe?

• Write responses on flip chart.

• Identify and list any problems with

a note to rectify them before
scripting takes place.

83

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • Was it helpful doing this

appeared critical to the learners? activity as a group?
• How was this result different from, • Are you satisfied with the end
or similar to, what you expected? product?
• Have you learnt something new • Were you able to complete the
that has inspired you to change task in time?
future training? • What have you learnt as a
result of this exercise?
• In what areas do you think you
need more help?
• Have you any suggestions as
to how this exercise could be
improved?
• Should more time have been
given to this activity?

84
Unit 13 – Conflict Transformation 3

Purpose
The purpose of this unit is to deal with issues the identification and the
distinction between positions and interests, as well as the benefits of mapping
a conflict. It seeks to provide concrete and practical examples of how to
analyse and use the learning from the field. Building on the participants’
personal experiences is very important for this unit.

Resources
• Flip chart, markers, and tape

Unit objectives
By the end of this unit participants will be able to:

• Map a conflict
• Build conflict analysis skills
• Learn to do conflict mapping and to translate this analysis into the soap opera

Duration: 60 minutes (take more time if discussion warrants it)

85
Notes to Facilitator Learning Activity 1
Duration: 60 minutes Mapping a Conflict

Resources • Put up prepared flip chart so that

• Flip chart, markers, and tape all participants can view it (see
• Prepared flip chart Brief_Analysing Conflict or see
Note 1). Participants should be
Note 1: Prepare a flip chart with the sitting in a circle around the flip
following information: chart.

1. Conflict history • Discuss.

• significant events
• change in relationship • Ask 3 participants to do a conflict
analysis map, using any medium
2. Context of their choice to assist them (it’s
• how do parties resolve conflicts? possible, for example, to do it as a
• how do they communicate? role play). And ask them to
provide the following information:
3. Primary parties • Conflict history
• parties directly involved • Context
• interests and positions • Primary parties
• perceptions of each other • Additional parties
• do they have authority to settle • Issues
the dispute?
• do they have constituencies? • Ask the other participants whether
or not they agree with the analysis
4. Additional parties - recommend that the participants
• are other parties affected? think about the current flip chart,
• what role do they play? and the Conflict Circle
• are there alliances? (Handout_Conflict Circle) from
Unit 5. If they disagree, how
5. Issues would they draw the map.
• what issues are identified?
• hidden issues • Considering all the elements
• what type of issues? displayed on the flip chart, ask:
• is there escalation? What options are available and
• are parties polarised? possible?

6. Options • Ask participants: Why is this type

• what are the options available? of analysis important? How do we
• do parties know of the options? analyse?

• are they aware of each other’s

options? • Ask participants how this analysis
• how realistic are the options? could be built into the writing of
the radio soap opera.
Note 2: During discussion, consider

86
that conflict starts with a problem or a • Discuss (see Note 2).
disagreement over one or more
issues. This in turn is personalised,
leading to an issue proliferation, such
as bringing in past grievances, and the
sage of finding allies follows. It is clear
from the latter that a finite problem is
made complex.

Always bring the conversation around

to concrete examples. It is also
important to discuss how we analyse,
using the triangle of positions and
interests, (Handout_Triangle) from
Unit 8. If the discussion warrants take
more time as needed.

87
Unit 14 – Elements of Good Soap

Purpose
The purpose of this unit is to demonstrate how writers can build listener loyalty by
incorporating serial drama techniques. It is important to note that the unit is
based on participatory learning techniques and, as such, is workshop oriented.
Facilitators should make an effort to find CD samples to be used throughout this
unit, as specified throughout.

IMPORTANT: Final 30 minutes

Organise your presentation to ensure that the final 30 minutes are spent on
any assignments or practical activities associated with this session

Resources
• Flipcharts, markers, and tape
• Workbook
• OHP_Levels of Tension/Conflict
• OHP_Dramatic Conflict
• OHP_Soap Essentials
• Brief_Elements of good soap

Unit objectives
By the end of this unit participants will be able to:

• Show how every serial radio drama makes use of dramatic conflict
• Identify, describe and use the elements of a good radio soap to entice
listeners to continue listening

Duration: 210 minutes

88
Notes to Facilitator Learning Activity 1
Duration: 10 minutes Dramatic Conflict

Resources • Locate section 14.1 in workbook.

• Workbook • Ask participants to read and
• Flipchart, markers, and compare the two brief story
tape outlines. Discuss (see notes):
• Brief_Elements of good • What is the difference between
soap the two stories?
• Which is more interesting and
The important element to draw out of why?
the discussion is that, although both • What are the points of
stories focus on the same character dramatic conflict in the story?
and tell a similar story, Version A lacks
dramatic conflict, while Version B uses
dramatic conflict to increase the
interest level and appeal of the story.
Version B is far more likely to attract
the interest and sustain the emotional
involvement of the audience.

Dramatic conflict or tension is a vital

feature of any soap opera. Be careful
not to confuse this term with the
broader ‘conflict’, which the soap
opera is trying to address. Dramatic
conflict or tension refers to the
unusual, often unexpected, turns that
occur in all human activities and create
uncertainty, tension, suspense or
surprise. (For more information see
Brief_Elements of soap.)

89
Notes to Facilitator Learning Activity 2
Duration: 20 minutes Establishing Tension and
Conflict in the Plot

Resources • Show OHP_Levels of

• OHP_Levels of Tension/Conflict and explain
Tension/Conflict all three levels (see note 1).
• Flip chart, markers, and tape
• Use your pre-selected
example to further explain the
Note 1: Building and alleviating
slide (see note 2).
tension keeps the audience interested
and connected. There are three levels
• Divide participants in small
of conflict/tension that can be used to
groups to brainstorm more
create powerful plots.
examples. Give each group a
specific subject to work on (i.e.
1. Global – struggle against the
poverty, HIV/AIDS, refugees).
world or large bodies of
They should consider what
authority (i.e. police,
type of tensions and conflicts
government, etc.)
exist at the different levels.
2. Local – struggle against family,
friends, etc.
• After the activity is completed,
3. Personal (or inner) – struggle
discuss and write on flip chart
against yourself; this is often
the results from each group.
the most powerful3
Consider why each example
would or would not be effective
Note 2: Think of appropriate
in the drama.
examples to use while presenting
OHP_Levels of Tension/Conflict.

3
Turan Ali, 2002, “Making a Difference Through Drama Serials: Harnessing the Power of Drama,”
Berling-Institut für Weltbevölkerung und globale Entwicklung: Berlin, p.35.

90

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected? you?
• Have you learnt something new
that inspired you to change future
training?

Notes to Facilitator Learning Activity 3

Duration: 10 minutes Structure of the Drama

Resources
• Show slide (OHP_Dramatic
• OHP_Dramatic Conflict
conflict).4

• Explain that the plot of most

Note 1: the structure of a drama: stories, and therefore of dramas,
is built on the same 5-part
1. Introduction - appearance of structure (see Note 1).
major characters, initiation of the
plot, beginning of or hinting at the • Explain how in the final portion of
dramatic conflict, unfolding of the the plot or the sub-plot the
theme dramatic conflict is resolved, or
2. Development (with conflict) – the the problem solved (see
plot advances and dramatic conflict Brief_Elements of good soap).
develops
3. Climax – the dramatic conflict
becomes so intense something
must happen
4. Resolution - the final portion of the
plot where the dramatic conflict is
resolved or the problem solved. In
an edutainment drama, a negative
resolution demonstrates what can
happen if the pro-social message is
ignored; a positive resolution
shows the rewards of a message
learned and practised

4
Model of dramatic conflict taken from:
De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore, p.34.

91
5. Conclusion – loose ends can be
tied up or it can end with a
“dilemma” – in which the action
stops just before the conclusion to
allow the audience to fill in the
blanks. In enter-educate drama,
the resolution and conclusion
underscore the relevance of the
message

Notes to Facilitator Learning Activity 4

Duration: 30 minutes Soap – Essential
Elements
Resources
• Flip chart, markers, and tape
• OHP_Soap essentials • Locate section 14.2 in workbook.
Note 1: Brief yourself fully on the • Appoint three readers to read the
document Brief_Soap elements. drama script called “We won”.
The following elements were evident in
a bad soap; • Ask participants to note down as
• bad title many of the mistakes made by the
• no intro theme music scriptwriter as they can in ten
• pointless narrator minutes.
• no hook
• no signpost • Debrief (see Note 1).
• no introduction to characters,
place, time • Show overhead slide (OHP_Soap
• names too similar essentials). Explain the essential
• no sfx elements and write points on the
• scene changes without transitions flip chart.
• scene change but same character
continues (confusing) • Play extract of a good soap
• jumps months or years (without a example, if possible (see Note 2),
reason or explanation) and discuss.
• boring - no drama
• Confusing and/or obvious
messages
• no cliff-hanger
• changes time of broadcast without
saying when
• no line numbering

Note 2: If possible, find an audio

example to demonstrate a good soap.

92

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Do you think the principle of

dynamics of this section? dramatic tension will help you
• What, if anything, should you write a convincing drama?
change for future training? • Do you think you’ll be able to
• How did participants respond to the apply the elements of a good soap
session on dramatic tension? in your context?
• How did they relate to the concept • Did you think more/less time
of elements that make a good should be given to the activity
soap? we’ve just done?
• Did you have something you
wanted to share but could not?
Why?

Notes to Facilitator Learning Activity 5

Duration: 30 minutes Signposting and Hooks

Resources
• Locate section 14.3 in Workbook.
• Flip chart, markers, and tape
• Workbook • Play the signpost & hook
examples from the CD.
Make an effort to create an sample CD
of four signposts. If this is impossible, • Assign groups or pairs and ask
then verbal examples will have to be participants to discuss the
used for discussion. questions in the workbooks. One
person from each group should
The purpose of this activity is to report back.
practice SIGNPOSTING (establishing
the location of the scene at its • Write main points on flip chart.
beginning) and the HOOK (the
opening 30 seconds of the radio
drama, when the listeners have to be
'hooked’).

93
Notes to Facilitator Learning Activity 6
Duration: 30 minutes Write your Own Signpost
& Hooks

Resources • Locate section 14.4 in workbooks.

• Workbook
• Ask participants to select a
scenario from the workbook and
As in Activity 5 this activity is to create signposts and a hook for
practice SIGNPOSTING (establishing their chosen scenario.
the location of the scene at the
beginning of the scene) and the HOOK • Select volunteers to read their
(the opening 30 seconds of the radio work.
drama, when the audience have to be
'hooked',). • Ask for critical feedback.

Notes to Facilitator Learning Activity 7

Duration: 20 minutes Cliff-Hangers

Resources • Play cliff-hanger sample and

• Brief_Elements of good soap discuss (see notes).

Note 1: If possible, find a culturally • Ask participants:

appropriate CD that exemplifies the • What is significant about the
use of cliff-hangers. It should draw section that has just been
the listener in and then leave him/her played?
in suspense. (If a CD is not available, • How was the cliff-hanger
then verbal examples will have to be effective? If it was not
used. In this case, it may be more effective, what could be done
entertaining to have participants act to make it so?
out the example). • Would you want to tune in
again to find out what
Note 2: See also the section on Cliff happened?
Hangers in Brief_ Elements of good • Was the audience left in
soap. suspense?

94
Notes to Facilitator Learning Activity 8
Duration: 20 minutes Write your own Cliff-
Hanger
Resources
• Workbook
• Locate section 14.5 in the
Ensure the discussion addresses the Workbook.
questions: Is there a conflict or
problem left unresolved? Is the • Ask participants to write cliff -
audience left in suspense? Or is the hangers for the scenario they
audience left with the question, "What selected in section 14.4.
happens next"? Do the audience feel
emotionally connected to the issue? • Invite two participants (choose
different participants from those in
activity 5) to read their cliff-
hangers.

• Ask for feedback from the rest of

the group.

Notes to Facilitator Learning Activity 9

Duration: 30 minutes Sub-Plots (multiple plots)

Resources • Locate section 14.6 in the

• Workbook workbook.
• Flip chart, markers, and tape
• Read the Plot Treatment for
Menteng Pangkalan.
Discussion should include, at least, the
following advantages of multiple plots • Ask participants (see notes):
in an edutainment serial: • Who is the central uniting
character?
• Suspense and tension can be • What messages can you
maintained through all the identify?
episodes, keeping the audience • What is the link between the
interested and emotionally plots?
involved. • How is consistency
• A wide range of characters maintained?
enriches a story while mirroring the • What are the advantages of
complexity of life. multiple plots?
• A serial can be emotionally more
powerful than a single plot story, • List responses on flip chart.
because multiple plots allow for a • Expand on points, particularly
wider variety of people and those in the notes section.
interactions. More plots = more

95
 human emotion = more attraction
for listeners.
• Sub-plots show that the message
is relevant to a variety of different
people in different situations.
• The message can be incorporated
into several different plots,
presented in different ways and
viewed from different angles.
• The various steps to behaviour
change can be demonstrated
naturally in different plots. (For
example, some characters may be
only just realising the need for
behaviour changes while others
are at the point of deciding to take
action. Meanwhile, characters in a
third plot may have already
adopted the new behaviour.)
• The script writers should stick
strictly to the time sequence of the
plots. To do this writers should
keep a diary. For example, if a
character in episode 8 of a serial
mentions that a baby will be born in
three weeks, then the diary should
note that by episode 11 the baby
should be born, if the serial airs
once a week. This ensures the
event is not forgotten or included at
the wrong time.

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What have you learnt as a result

process and outcomes? of this exercise?
• How was this result different from • In what areas do you think you
or similar to what you expected? need more help?
• Have you any suggestions of
other ways we could have
imparted the different elements of
radio soap? If so, How?

96
Notes to Facilitator Learning Activity 10
Duration: 10 minutes Anticipating Problems

Resources • Review the elements of a good

• Flip chart of elements of a soap from the flip chart developed
good soap in activity 3.
• Workbook
• Ask participants:
• Are these elements of a serial
radio drama appropriate in
their own cultures?
• Do they foresee any obstacles
in using the elements of soap
(Signposting, hooks, cliff-
hangers, sub-plots, action,
time and sequencing,
humour)?
• Humour is a very culture-
specific thing. What kind of
things would be humorous in
the participants’ context?
• How would other elements be
handled differently in their own
situations?
• Are there other elements that
could exist in their culture that
would be appropriate to
include in a soap?
• Are there any other problems
they foresee from
incorporating these elements
into the writing of a soap
opera?

Quality Check
For Facilitators: For Participants:

• What happened in this transition in • How has this activity helped you
terms of process and outcomes? to see script writing problems from
• If the participants raised problems, a different perspective?
how do you plan to address them • How helpful was it to listen to
in future trainings? suggestions from other people?

97
Unit 15 – Listener Learner

Purpose
The purpose of this unit is to demonstrate script writing techniques that maximise
the effectiveness of radio programmes for learning. It is important to note that the
unit is based on participatory learning techniques and, as such, is workshop
oriented.

IMPORTANT: Final 30 minutes

Organise your presentation to ensure that the final 30 minutes are spent on
any assignments or practical activities associated with this session.

Resources
• Flipcharts, markers, and tape
• Workbook
• Fifteen items pre-arranged on a table (Activity 1 - Option A) or materials for
alternative activity (Activity 1 Option B)
• Optional fun prize (Activity 1 Option A and Option B)
• Brief_Constructivist theory
• Brief_Landmarks
• Brief_Behaviour Change Steps
• Brief_S&W (from Unit 3)
• OHP_Behaviour Change Steps
• Handout_Communication Process or flip chart diagram
• Handout_ Listener-learner theory or flip chart diagram
• DOC_Our Neighbours Ourselves (Alternative exercise for activity 15)
• VID_Nashe Maalo
• Flipchart of radio's strengths and weaknesses (from Unit 2 activity 3)

Unit objectives
By the end of this unit participants will be able to:

• Describe the way in which adults learn

• Identify script writing techniques which make pictures for the mind
• Describe the necessary skills required by script writers
• Explain the relationship between communication and behaviour change
• Describe the elements that influence the communication process
• Apply “Landmarks for Learning” to the script-writing process

Duration: 200 minutes

98
Notes to Facilitator Learning Activity 1
(Option A)
Duration: 5 minutes How we learn - Game 1

Resources
• Fifteen pre-arranged items • Ask for two volunteers and send
• Optional fun prize them out of the room.

• This activity dramatically • Take the remaining participants to

demonstrates how listener-learners the table setting arranged earlier
will process information based on and remove the cover to show
the constructivist theory (see them the setting.
explanation in Brief_Constructivist
Theory). • Explain that you are about to
• It is known as "Kim's Game" after a demonstrate a fundamental
story in Rudyard Kipling's book principle of listener learning. You
"Kim". In the story, a street-kid in will ask the volunteers to
Lahore, Pakistan, was taught to be remember the items. Then you
a spy and so needed to remember will predict the second volunteer
things well. will remember FEWER items than
• On a table at the back of the the first volunteer.
training room prepare (before the
session) an elaborate dinner • Being reasonably confident that
setting for one person. For the second volunteer WILL NOT
example: plates, spoons etc; remember as many items as the
various condiments (such as salt, first volunteer, you may like to
pepper); and accessories (such as promise the group a fun prize of
a toothpick) or other items from the some sort if your “prophecy” is
kitchen. Carefully arrange 15-20 incorrect!
items in the setting, ready for a
person to be seated at the place. • Cover the setting again.
Cover the setting, ready for the
activity. • Go to activity 2.

99
Notes to Facilitator Learning Activity 1
(Option B)
Duration: 20 minutes How we learn - Game 2

Resources • (See notes)

• Flipchart, markers and tape for
each learning set • Divide participants into learning
• Optional fun prize sets of three or four (whenever
possible put together participants
from the same location or who
speak the same language).
This alternative activity demonstrates
how we use landmarks to guide us on • Distribute a flipchart page and
a journey. In the same way, our brains markers to each learning set.
use "landmarks" to help us remember
things. In this course we use the term • Instruct them to draw a map to
“Landmarks for Learning” to describe guide you from where you are
key points in the learning process — to now to a well-known location on
help guide listener-learners on the the other side of the city. They
learning journey. These Landmarks for are to assume you are new to the
Learning are techniques, appropriate city and don’t speak the language.
to radio, that act as triggers for They can draw only pictures on
learning (just as real landmarks trigger the map - no written directions or
a recollection of where we are in a street names.
journey).
• Ask someone from each group,
after the task is completed, to use
the map to explain how you will
make the journey. NOTE: The
participant must speak a language
that you do not understand! If
both of you speak the same
language, the participant must
make up a language (this will
create much amusement).

• Explain to the larger group that

you are demonstrating a
fundamental principle of listener
learning (see notes).

• Go to Activity 4 (Activities 2 and 3

are only for Option A).

100
Notes to Facilitator Learning Activity 2
Duration: 5 minutes How we learn - Game 1
Continued
Resources
• Flipchart, markers, and • After covering the table, call in the
tape first volunteer.

• Explain to the volunteer that

For added effect, list the items on a he/she has 15 seconds to
flipchart as each volunteer calls them remember what is beneath the
out. However, remember to cover up cover. Remove the cover and
the items recalled by the first volunteer allow the volunteer 15 seconds to
before the second volunteer comes look at the setting. Then cover
into the room. the setting again.

• Give the volunteer a little time to

list - without prompting - the items
he/she can recall.

• Now completely disassemble the

setting. Randomly place all items
in an untidy, non-systematic
fashion. Cover the setting and
call in the second volunteer.
Repeat the instructions. Allow the
second volunteer 15 seconds to
look at the items before covering
the setting again.

• Give the second volunteer a little

time to list - without prompting -
any items he or she can recall.

101
Notes to Facilitator Learning Activity 3
Duration: 10 minutes How we learn - Game 1
Final Part
Resources
• Workbook • Almost certainly, the first volunteer
will either remember more items
or will more easily be able to recall
them than the second volunteer.

• Locate Workbook section 15.1.

• Ask them what they learned from

“Kim's Game” and discuss.

• Explain that the purpose of this

session is to identify script writing
techniques that will help us to
create “pictures for the mind” -
techniques that help us to create
“familiar patterns” for the listener,
so that they learn from our
programmes and do not just hear
them.

Notes to Facilitator Learning Activity 4

Duration: 10 minutes Skills Required for Writing
• Ask participants: What are the
Resources most important skills required for
• Flipchart, markers, and tape writing scripts that will help
listeners learn?

• List on a flipchart and discuss.

102

Quality Check
For Facilitators: For Participants:

• How did the learners respond to • Why should we bother spending

the exercise? Were they surprised? the time to consider whether our
Why? Why not? listeners will learn from our
• What is another activity you can programmes?
use or another way that you can
make the same point next time?

Notes to Facilitator Learning Activity 5

Duration: 10 minutes Constructing Learning

Resources • If you used Option A, then explain

to the participants that the
• Prepared flipchart
organised table setting presented
• Brief_Constructivist theory a “picture for the mind” - the
setting matched a picture (or a
cognitive map) that previous
experience had constructed in the
Facilitator should be thoroughly briefed volunteer’s mind. It was easier to
on the explanation of constructivist recall the items because they
theory - see Brief_Constructivist fitted a pattern that already
theory. existed in the volunteer’s mind.
The second volunteer was less
able to recall items because they
did not fit a recognisable cognitive
map or pattern.
• If you used Option B, then explain
that when people travel on a
journey they use landmarks to
match a picture (or a cognitive
map) that previous experience
had constructed in the mind. It is
easy to recall landmarks because
they fitted a pattern that already
exists in the mind.
• Explain that this is learning based
on constructivist theory (see
notes).

103
Notes to Facilitator Learning Activity 6
Duration: 20 minutes Communication &
Behaviour Change

Resources • Show OHP_Behaviour Change

• OHP_ Behaviour Change Steps.5
Steps
• Brief_Behaviour Change • Explain the relationship between
Steps communication and behaviour
change (see notes).
• Facilitator should be familiar with
the steps to behaviour change
(See Brief_Behaviour Change
Steps) in order to briefly explain
communication and the steps to
behaviour change.

5
De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore, p.xvii.

104
Notes to Facilitator Learning Activity 7
Duration: 10 minutes The Communication
Process: Source
Resources
• Locate Workbook Section 15.2.
• Workbook
• Flipchart, markers, and tape • Draw the following process of
• Handout_Communication communication (or see notes).
process Source  Message Channel
Listener-learner
• Explain SOURCE
• "Who" OR "what"
As an alternative to using the handout • The one giving the message
provided, (Handout_Communication
Process) the facilitator may prefer to • Many communication models use
build the diagram up on the flip chart. "sender". We do not use “sender”
any more because that suggests
that all communication is
INTENTIONALLY or deliberately
sent. We know it is often
UNINTENTIONALLY sent

• Ask participants to think of

examples of the unintentional
sending of a message

• One example is when you are

lost. You search for a passer-by
who “looks” as though he or she
belongs or is familiar with the
area. That passer-by is a source
of unintentional communication
(that is, they emit a signal which
says, “I belong here”).

• The term SOURCE acknowledges

both INTENTIONAL and
UNINTENTIONAL
communication.

105
Notes to Facilitator Learning Activity 8
Duration: 5 minutes The Communication
Process: Message
Resources
• Explain MESSAGE
• Workbook
• Flipchart, markers, and tape • Discuss and write on flip chart:
• Handout_Communication • What is being said?
process • What is the content/information?

Notes to Facilitator Learning Activity 9

Duration: 10 minutes The Communication
Process: Channel
Resources
• Explain CHANNEL.
• Workbook
• Flipchart, markers and pens • Discuss how it is transmitted
• Handout_Communication through speech, hearing, sight,
process touch, and taste (see note).

Note: For example: • Examine how media extend these

• Words/language (written and channels (radio extends the ability
spoken) to speak over greater distances
• Colour (in one culture the colour and to more people, and extends
red says ‘stop’; in others it means the ability to hear; television by
wealth) extending sight).
• Clothing (uniforms communicate
identity and authority)
• Affectionate displays
• Facial expressions
• Body movement and hand
gestures

106
Notes to Facilitator Learning Activity 10
Duration: 10 minutes The Communication
Process: Receiver

Resources • Explain RECEIVER.

• Workbook
• Flipchart, markers, and tape • Explain that many communication
• Handout_Communication models use the term "receiver".
process Often, we do not in fact receive a
message but we filter, or process
• Brief_Constructivist theory
it. Based upon our understanding,
we accept or reject parts of it. It’s
like eating fruit - we “receive”
Before explaining the listener-learner,
some of it but throw away the
read Brief_Constructivist theory. This
unwanted or unpleasant parts.
should not be distributed to
participants. It is only to help you
• Explain that listening is active. It
prepare for the following activities.
is a process of learning, of
constructing what has been
listened to.

• Explain that hearing is passive.

• Give examples.

• Explain that our understanding of

our audience as listener-learners
is important for the principles and
techniques of writing for radio.

• Discuss fully to ensure that

participants grasp the concept of
the listener-learner and why we
prefer to use that term (and not
receiver or audience) in the
communication process.

107
Notes to Facilitator Learning Activity 11
Duration: 10 minutes The Communication
Process: Feedback

Resources • Add the next two lines to the

• Workbook previous diagram of the
• Flipchart, markers and pens communication process:
• Handout_Communication
process Source  Message Channel
Listener-learner

FEEDBACK
FEEDBACK

Listener-learner
Channel

Message
Source

• Explain how the communication

process works through feedback
with the listener-learner now
becoming the source. Note that
the original source now becomes
the listener-learner.

• Explain that it does not simply

happen but that the
communication builds upon
previous layers.

State that an example of the

communication process (and layers
of communication) might be between
a taxi driver and customer (from the
moment the customer decides he/she
wants a taxi then while he/she
negotiates a fare, converses with the
driver, pays the fare and departs the
taxi, the communication process is in
action).

108
Notes to Facilitator Learning Activity 12
Duration: 15 minutes Internal & External
Factors in the
Communication Process

Resources
• Workbook • Explain that learning is affected
• Flipchart, markers, and tape by:
• Handout_Communication
process • internal, unconscious factors

• external/environmental factors
External/environmental factors: that influence how information
• Demographics (Age, Socio- is perceived and acted on
economic status)
• Socio-cultural norms and customs • Brainstorm with participants, what
• Belief systems internal and external factors
• Knowledge/education influence how information is
• Relationships (friends, family, perceived and acted on.
community)
• Levels of trust and cooperation in • Explain that in order to understand
community the listener-learner, we need to
• Social trends understand the Learning
• Well-being (physical, emotional, Environment.
spiritual)
• Access to social services (health,
education, etc.)
• Employment
• Governance
• Media
• Ecological factors

109
Notes to Facilitator Learning Activity 13
Duration: 15 minutes Listener-Learner Theory

Resources • Locate Workbook Section 15.3.

• Workbook • Explain the concept of the
• Handout_Listener-learner listener-learner.
theory
• Use the handout
(Handout_Listener-learner theory)
to explain the implications for
radio programming for conflict
resolution and peace-building.

• Stress that the listener-learner is

an agent of change as well as an
object of change.

Quality Check
For Facilitators: For Participants:

• What points seemed important to • At this point, how readily do you

the participants? think you can apply this learning
• How were the process and to your own script writing?
outcomes of learning satisfactory?

110
Notes to Facilitator Learning Activity 14
Duration: 15 minutes Landmarks for Learning

Resources • Refer to the flipchart of radio’s

strengths and weaknesses (from
• Flipchart of radio's strengths unit 2, learning activity 3 or see
and weaknesses Brief_Radio S&W).
• Brief_Landmarks
• Explain how, if we are to help our
Landmarks for learning from case listeners to learn, and not just
study: People learn by: hear, then we need to maximise
radio's strengths and overcome its
• Linking associated information weaknesses.
by making connections between
new information and familiar • Explain that we do that by using
information that is known and certain techniques for
understood by listener (by using researching, writing and planning
sound, vocabulary, word-pictures, a script. We call these
themes, situations) “Landmarks for Learning” (see
• Observing what other people do notes and more information in
(positive, negative and change Briefs_Landmarks).
role-models)
• Identifying with believable
characters
• Showing them they have the
ability to change
• Being given motivation to achieve
the goal
• Being given motivation to change
• Confirming their belief in the new
behaviour
• Using sources that Extend Radio
Messages, other communication
channels that will extend the radio
message

111
Notes to Facilitator Learning Activity 15
Duration: 15 minutes Applying the Landmarks

Resources • Play video clip "Nashe Maalo", or

get participants to act out excerpt
• Workbook
from Our Neighbours Ourselves.
• VID_Nashe Maalo
• (OR) use excerpt from script • Locate 15.4 in workbook and ask
DOC_Our Neighbours participants to identify how the
Ourselves landmarks are used in this script.

• Discuss.

Notes to Facilitator Learning Activity 16

Duration: 5 minutes Change in Knowledge or
Behaviour?
Resources
• Flip chart, markers, and tape
• Ask participants: Which of the
Radio programming works best when following comments from a radio
we provide ideas, or "pictures for the listener would you hope for?
mind", to motivate and enable
listeners. I would be disappointed if a a) "Now I know something about that
listener responded to my radio topic." Or,
programme with sentence a). b) "Now I know how to make a
change in my life."
Radio script writers and producers can
maximise radio's impact with • Facilitate discussion (see note).
landmarks for listener-learning. They
are guides or markers on a pathway of
learning that we can use to help
listeners to learn - not just to listen.
Encourage participants to use the
“Landmarks for Learning”, as
discussed in the previous session, to
guide their script planning and content.
It will help them take advantage of
radio's strengths and correct its
communication weaknesses.

112

Quality Check
For Facilitators: For Participants:

• What happened in terms of • Was it easier to do this exercise in

process and learning outcomes? a group than on your own?
• What, if any, changes are needed • What needs to happen for
for a future group-reinforcement effective teamwork and
activity on this topic? collaboration to take place in your
setting?

Notes to Facilitator Learning Activity 17

Duration: 30 minutes Developing a Script
Based on Landmarks for
Resources Learning
If you used the Video clip (VID_Nashe
Maalo) for activity 15, you might like to • Ask participants to develop their
explain that the factual summary, in own drama script based on the
workbook activity 15.5, is the landmarks they developed in the
background setting for the SFCG TV Section 15.5 of the Workbook
soap ”Nashe Maalo” (‘Our (see notes).
Neighbourhood) in Macedonia.
• Debrief.
If this assignment cannot be done in
the time remaining in this session it
should be completed as an overnight
assignment, and handed in the next
day.

113

Quality Check
For Facilitators: For Participants:

• How did you encourage • How confident did you feel while
participants to go beyond what was doing this exercise?
expected? • How has this exercise helped you
• What is your opinion of the scripts to upgrade your skills of script
that participants submitted? writing and evaluation?
• What have you learnt and what • What has changed in the way you
needs to be modified or added to work as a result of this activity?
the manual for future training?

114
Unit 16 – Conflict Transformation 4

Purpose
The purpose of this unit is to help participants understand how to deal with
practical issues of conflict transformation. It deals with the role perceptions,
play in the escalation and reduction of conflict. It is important that the trainer

Resources
• Flipchart, markers and tape
• Handout_Perceptions
• Handout_Principles

Learning objectives
By the end of this unit participants will be able to:

• Explain the role of perceptions in the escalation and reduction of conflicts.

• Discuss the principles of perception.
• Practice ‘thinking outside the box’.

Duration: 30 minutes

115
Notes to Facilitator Learning Activity 1
Duration: 30 minutes

• Perception exercise, using

Resources Handout_Perceptions and
Handout_Principles. Ask
• Workbook
participants to work in small
• Briefings groups, and to come up with
• Handout_Perceptions one definition of what they
• Handout_Principles understand from the two
handouts.
Unit 16 deals with practical issues of
conflict transformation and perceptions • Debrief and Brainstorm with
and the role those perceptions play in participants on the role
conflict escalation and reduction. perceptions play in creating
It is important that the trainer build on and maintaining conflict
the participants own perceptions and
experiences. • Facilitated discussion on
- Perceptions and conflict
Tools: flipchart, markers with different transformation
colours - Principle of perceptions

116
Unit 17 – Intended Outcomes

Purpose
The purpose of this unit is to explore how the edutainment soap opera can
achieve intended outcomes through the plot and the characters. During this
session, it is important for facilitators to squash the idea that the soap opera is a
sugar-coating for an educational pill, or a way to put behavioural messages into
the mouths of story characters; audiences will quickly see through it.

IMPORTANT: Final 30 minutes

Organise your presentation to ensure that the final 30 minutes are spent on
any assignments or practical activities associated with this session.

Resources
• Flipcharts, markers, and tape
• Workbook
• Brief_Neighbours
• Brief_Characters
• Brief_Plots
• CD_Neighbours_8
• OHP_Cutler
• OHP_Brooke

Unit objectives
By the end of this unit participants will be able to:

• Describe how intended outcomes drive the development of the story

• Describe how the message is conveyed through characters and plots
• Develop messages which move the audience towards the intended outcomes

Duration: 90 minutes

117
Notes to Facilitator Learning Activity 1
Duration: 10 minutes “Sugar-coating” and
“Educational Pill”

Resources • Locate section 17.1 in workbook

• Workbook and appoint three people to read
“The Streets of Zimba” (see
This short sketch in the form of a notes).
public service announcement is an
example of poor edutainment. It uses • Ask participants:
drama to get a good message across, • What was the message?
which is designed to influence the • Was it effectively
behaviour of the listeners. In reality, it communicated?
is rather like sugar coating an • Why?
educational pill. The listeners will not • What did you like?
be convinced by the message, even • What did you not like?
though they may agree with it. • What could have been done
differently?

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • Were you able to identify that

appeared critical to the learners? this was not good
• How was this result different from edutainment?
or similar to what you expected? • What new things did you
• Have you learnt something new learn?
that inspired you to change future • How has this activity changed
training? you?

118
Notes to Facilitator Learning Activity 2
Duration: 5 minutes No Fooling the Audience

Resources • Show overhead slide quoting

• Workbook Mary Cutler (OHP_Cutler).
• OHP_Cutler
• OHP_Brooke • Explain that “The Streets of
Zimba” is an example of how a
story is used to cover up a
OHP_Cutler states: message for social benefit.
“People have become more Putting behavioural messages in
sophisticated and are very alert to be the mouths of story characters,
preached at.” - Mary Cutler (BBC however, will not fool anyone, as
radio script writer with “The Archers” BBC script writer Mary Cutler from
for 21 years. “the Archers” states in this
quote…
OHP_Brooke states:
“We short-change ourselves and our • Show overhead slide quoting Pam
audiences when we think of Brooke (OHP_Brooke).
educational stories as fancy window-
dressing for programme messages. • Explain that an unsuccessful
When a story is authentically created, edutainment story is one whose
the story is the message.” characters behave so that the
outcome is true to the educator’s
message, but it is not true to the
audience’s own understanding of
itself and its concerns or to the
character in the drama. As Brooke
puts it… (see OHP_Brooke)

• Explain that a successful story is

where familiar characters act
according to recognised needs, in
recognisable situations driven by
realistic conflicts.

119
Notes to Facilitator Learning Activity 3
Duration: 20 minutes Intending an Outcome
Resources
• Reinforce how the intended
• Audio sample: outcome (i.e. the behavioural
CD_Neighbours_8 changes we want to see in the
• Brief_Neighbours lives of the listeners) drives the
message and that the message is
carried by the characters and the
You may use the sample programme plot (see unit 6).
provided on the accompanying audio
CD, or find an episode of a soap opera • Play CD_Neighbours episode 8
that is more suitable to the “Is Blood Really Thicker” (10’37”)
participants’ own situation. (see notes).

If using the Neighbours sample, then • Ask participants

facilitators should be familiar with the • What was the main message?
document, Brief_Neighbours, which • How was the message brought
provides a background to the series as out?
well as the intended outcomes. • Why do you, or do you not,
think the producers achieved
what they intended?
• Who do you think the intended
audience was?
• What kind of issues did the
drama deal with?
• How effective was it
(believable, understandable,
interesting)? – Explain why
you think so.

• Go through the actual intended

outcomes of the programme and
compare how close the perception
of the participants was to the
reality.

• Ask participants, in light of what

they know now, if their opinion
changed as to whether or not the
programme was successful.

120
Notes to Facilitator Learning Activity 4
Duration: 5 minutes How Much Message?
How Much Entertainment?
Resources
• Flip chart, markers, and tape
• Ask participants what ratio of
entertainment to education should
Currently, it is generally agreed that
be put in each episode of an
the balance between entertainment
enter-educate soap?
and education should be in favour of
the entertainment. Some suggest that
• Write answers on flip chart.
70% of the content should focus on
entertainment and 30% on education,
• Discuss (see notes).
while others opt for 60/40. The real
point is not an arbitrary distinction
between the two; they need to be
totally merged.

Notes to Facilitator Learning Activity 5

Duration: 10 minutes How Characters Carry the
Message
Resources
• Explain how a message can be
• Brief_Characters
conveyed through characters (see
notes):
Facilitators should brief themselves
• Through modelling
fully on this subject using
• Through change
Brief_Characters.
• By the characters being
realistic and believable
• By the characters being
appropriate to the message
• By increasing self-efficacy
• By the characters being
appropriate to the audience
• By varying the characters’
personalities
• By limiting the number of
characters.

121
Notes to Facilitator Learning Activity 6
Duration: 10 minutes Blending the Message in
the Plot
Resources
• Brief_Plot • Ask participants how a message
can be conveyed through the plot
(see notes).
Facilitators should brief themselves
fully on this subject using Brief_Plot. • Discuss.

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Do you think you’ll be able to

dynamics of this section? blend the message into the story
• What, if anything, should you through the plot and the
change for future training? characters?
• How did participants relate to the • Did you think more/less time
concept of the elements that make should be given to the activity
a good soap? we’ve just done?
• Did you have something you
wanted to share but you could
not? Why?

122
Notes to Facilitator Learning Activity 7
Duration: 30 minutes Write to Achieve an
Outcome
Resources
• Workbook • Locate section 17.2 in workbooks.

This 30-minute activity should be • Ask participants to write a brief

divided as follows: 20 minutes to write storyline for a conflict resolution
the story line and 10 minutes to de- drama that will accomplish the
brief. intended outcomes.

• Ask volunteers to read their

storylines.

• Elicit feedback from group.

Notes to Facilitator Learning Activity 8

Duration: 5 minutes Anticipating Problems

Resources
• Ask participants:
• Workbook
• How difficult was writing a
storyline with a given objective?
• How realistic were the intended
outcomes?
• How successful do you think
you were at achieving the
outcomes?
• Why did it, or did it not, seem
like you were trying to sugar-
coat the educational pill?
• What have you learned by doing
this activity?
• What problems do you
anticipate in your own situation?
• How could you overcome these
problems?

123
Unit 18 – Sound

Purpose
This module is designed to show script writers how to use sound to bring a radio
drama to life, whether it is using sound effects, music or voice.

Resources
• Flipcharts, markers, and tape
• Workbook
• Home made sound effects resources
• Self made and mixed CD
• Tape recorders and mics
• OHP_SFX
• OHP_Music
• Brief_SFX
• Brief_Music
• CD_SFX

Unit objectives
By the end of this unit participants will be able to:

• Identify which sound effects and sound beds are appropriate for enhancing a
radio drama.
• Use music appropriately for a radio drama
• Make realistic and appropriate sound effects for a serial radio drama.
• Mark up a radio drama script correctly

Duration: 180 minutes

124
Notes to Facilitator Learning Activity 1
Duration: 10 minutes Background Sound

Resources • Ask participants to close their eyes

• Home-made sound effect and listen (maintain absolute silence)
resources for a minute.

• Ask participants to share the things

Encourage the use of the participants’ they heard.
imagination for this exercise to create
sound pictures. If an amplification or • Explain that in real life, there are
public address system is available it always sounds in the background.
would be most effective. For example, Most of them go unnoticed because
rustling cellophane can sound like fire they are a natural, everyday part of
(when amplified), a fan blowing directly the surroundings. Also, our other
into a microphone sounds like a senses, such as sight, touch and
propeller-driven aircraft, a person smell, often override sound.
blowing into the microphone can sound
like wind, etc. • Ask participants to close their eyes a
second time and use their
Alternatively you can record these imagination for the following activity.
sounds in advance and ask participants:
what image did the sound conjured up • Perform a number of sound effects
and what was used to make it. using every-day implements to create
sound pictures (see notes).

• Ask participants what images are

conjured up in their minds when they
hear the sounds.

125
Notes to Facilitator Learning Activity 2
Duration: 10 minutes The Role of SFX in Drama

Resources • Play the sound collage CD

• Flipchart, markers, and tape (see Note 1) and ask
participants:
• What mental pictures did the
Note 1: Create a sound collage CD sound collage create in your
using an evocative mix of sound minds?
effects and of voice actuality. It should • What mood did it create?
juxtapose voices of war and peace • What message was contained
justifying the rightness of their causes. in the collage?
Make the CD relevant to the context of
the course participants. • Explain that sounds convey
meaning. Sound stimulates our
Note 2: Sound: visual imagination; it creates
• Establishes setting visual images in our minds. Radio
• Helps to create mental pictures drama is telling a story through
• Dramatises movement the careful mixing of sounds - both
• Reinforces dialogue verbal and non-verbal. As one
• Illustrates actions child said, "I like radio because
• Creates moods the pictures are better."
• Builds suspense and tension
• Adds humour (when used in an • Ask participants how sound is
exaggerated or comical way) used in drama (see note 2).

• Write on flip chart.

126
Notes to Facilitator Learning Activity 3
Duration: 10 minutes The Role of Music

Resources
• Flipchart, markers, and tape • Play the mixed CD you have
created (see note 1).

Note 1: Create a mixed CD of • After playing each track ask

culturally appropriate music. participants (see note 2):

Note 2: The following elements should • What is kind of mood or

emerge in the discussion (see atmosphere is conjured up by
Brief__Music): this track?
• Why could this, or could this
• Music can add dramatic impact by not, be used in radio drama?
heightening the emotional intensity • What is the role of music in a
of a scene. radio drama?
• Music can establish the
atmosphere or the activity level of a • Write on flip chart.
scene (e.g. a busy market might be
illustrated by fast, syncopated
music).
• Scene changes are often handled
with short, musical bridges.
• Music should never be used simply
because it is entertaining or
popular. It should be used
sparingly or it can distract the
audience (this will be reinforced
later).

127

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected? you?
• Have you learnt something new
that inspired you to change future
training?

Notes to Facilitator Learning Activity 4

Duration: 20 minutes Guidelines for Using
Sound Effects
Resources
• OHP_SFX • Show overhead slide of sound
• Brief_SFX effects guidelines (OHP_SFX).

• Explain to participants the main

Note 1: Brief yourself fully on the things they should know about
guidelines for using sound effects using sound effects (see note 1).
contained in the document Brief_SFX,
the main points of which are • Play examples to illustrate points
summarised on the overhead slide (see note 2).
(OHP_SFX).

Note 2: If possible, you should find

local examples of SFX that illustrate
each of the points above (either well or
badly).

128
Notes to Facilitator Learning Activity 5
Duration: 5 minutes Recording Sound Effects

Resources • Explain that pre-recorded sound

effects, records and tapes, and
even CDs are recorded in a
particular place and sound
environment. This probably is
NOT in the same "acoustic space"
that your actors are, or where you
want them to sound like they are.
An effect that does not sound like
it is in the same place as the
actors can destroy the image you
are trying to build for the listener.
For example, do not have a
person walk outside, and slam a
door with lots of reverberations
around it.

• Encourage participants to make

and to record their own effects. It
gives greater choice of sounds,
and allows for better control over
them. Record sounds from close
up, from various distances, and
perhaps even with different
microphones.

• Advise participants to keep all the

SFX they record, and to write on it
what it is, as SFX can always be
used again – but only if it’s
properly logged. Most
independent producers have
racks of uncatalogued and
therefore useless tapes, mini-
disks or CD’s full of SFX.

129
Notes to Facilitator Learning Activity 6
Duration: 20 minutes Guidelines for the Use of
Music

Resources • Show music guidelines on

• Brief_Music overhead slide (OHP_Music).
• OHP_Music
• Explain to participants the five
guidelines mentioned on the
Note 1: Brief yourself fully on the overhead slide (see note 1).
guidelines for using music contained in
the document Brief_Music that • Play examples to illustrate each
corresponds with the overhead slide point (see note 2).
(OHP_Music).
• Reinforce the point that music is
Note 2: If possible, find local examples not a substitute for a good story.
that illustrate each of the points above. The focus of a serial is on the
Look for music used in all areas of story. A writer who can produce a
soap – i.e. signature tunes, bridge gripping story need not be overly
music, etc. concerned with music.

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Did the guidelines for the use of
dynamics of this activity? SFX and music help you as a
• What, if anything, should you script writer? Why or why not?
change for future training? • Did you think more/less time
• How did participants respond to the should be given to the activities
proposed use of SFX and music? we’ve just done?
• Do you know how we could
improve this activity?
• Did you have something you
wanted to share but could not?
Why?

130
Notes to Facilitator Learning Activity 7
Duration: 10 minutes How NOT to Mark up a
Script for SFX and Music

Resources • Locate section 18.1 in the

• Workbook workbook, which shows how NOT
to mark up a script.

What’s wrong with the examples in the • Ask participants to identify what is
workbook? wrong with each example.

1. Radio has no ’acts’ in the way a • Discuss (see notes).

stage play has. A sequence in a radio
play might be one line long, or last for
20 pages. But no single sequence
should go beyond its natural length.
Beware of boring the listener. Radio is
fatally easy to turn OFF.

2. The only means of establishing a

character's presence is to have
him/her speak or be referred to by
name. If there are too many
characters in a scene the listener will
lose track.

3. 'Stage directions' for the producer's

or actor's benefit should be avoided.
In this example, it is impossible to
portray an “angry look” and a “flushed
face” on radio. Instructions should
help the actor with the spoken word.

4. Sound effects should be used

sparingly, unlike this example. They
should work with the dialogue. Out of
context they will mean little. Effects
are useful in setting a scene, but the
signposts must be subtle.

131
Notes to Facilitator Learning Activity 8
Duration: 10 minutes How to Mark a Script for
SFX and Music

Resources • Locate section 18.2 in the

• Workbook workbook, which shows an
example of a good way to mark a
When it comes to marking up a script script with sound effects and
for SFX and music, there are no fixed music.
rules. Each production company has
their own preferences. Ideally you • Explain the common instructions
should adapt the example provided for that appear in the script, so that
local requirements. the audio technicians and the
actors know what is required
when it comes to recording and
reading the script (see notes).

Notes to Facilitator Learning Activity 9

Duration: 40 minutes Making your own SFX
• Divide participants into the same
Resources groups they worked in to create
• Recording machines & mics the scene-by-scene development
in unit 12.

If there is no recording equipment • Locate workbook section 12.1 and

available, ask the participants to ask participants to look back at the
brainstorm what kind of sound effects scene development in their story.
and music they would need for the Ask them to identify at least four
drama and how they would go about sound effects to bring that story to
collecting them. life.

• Send participants out for 20

minutes with recording equipment
to manufacture the sound effects
for the story (see notes).

• Spend the last 20 minutes playing

back some of the results and
discussing.

132

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What have you learnt as a result

process and outcomes? of this exercise?
• How was this result different from • Where do you think you need
or similar to what you expected? more help?
• What suggestions do you have for
other ways that we could have
imparted skills to use SFX and
music? How?

Notes to Facilitator Learning Activity 10

Duration: 10 minutes Identifying Problems

Resources • Ask participants:

• Flipchart, markers, and tape
• What will be your main source
You might like to explore issues like: of sound effects and music for
• Lack of resources your radio serial drama?
• Geographical distance from the • How difficult will it be to record
listener your own appropriate sound
• Socio/economic distance from effects?
the audience • What problems do you foresee
• Perceived lack of time in trying to implement the
• Lack of encouragement guidelines for using SFX and
• Resistance to new forms of music?
programs • Where else could you get
material?
• If SFX and music are not
appropriate, how will you work
around it?

• Discuss responses and list.

133

Quality Check
For Facilitators: For Participants:

• What happened in this section in • How has this activity helped you
terms of process and outcomes? to see SFX and music problems
• If the participants raised problems, from a different perspective?
how do you plan to respond to • How helpful was it to listen to
them in future training? suggestions from other people?

Notes to Facilitator Learning Activity 11

Duration: 35 minutes Create a Scene of Your
Own
Resources
• Workbook • Ask participants to go back to
scene-by-scene development in
section 12.1 in their workbooks.

• Explain that scenes usually begin

as narrative descriptions in a
script outline. It becomes a radio
script when the description is
changed into action.

• Ask them to turn the narrative

description of one of the scenes
into a radio drama script 5
minutes in length. They should
use appropriate music and sound
effects which help bring the scene
to life. They should also include
details of how the scene will
transition into the next scene.
They should write it in the space
provided in section 18.3 of the
workbook.

134
Notes to Facilitator Learning Activity 12
Duration: 30 minutes Enact your Scene
• Ask for two or three volunteers
Resources (depending on time) to do a
• Workbook dramatic reading of their own
script in front of the participants.

• Ask participants for their reactions

of what worked well, what did not
work so well, and what could be
improved.

Quality Check
For Facilitators: For Participants:

• What happened in this transition in • What did you learn as a result

terms of process and learning of this activity?
outcomes? • How able do you feel that you
• How did you encourage the are to write a scene for a radio
participants to go beyond what was serial drama using appropriate
expected, to show initiative? SFX and music?
• How did you demonstrate that you • How able are you to mark up a
believe in the potential of the script correctly for SFX, music
participants? and mics?
• How was your experience here
different from or similar to what
you expected or experienced
in the past?
• What has changed in the way
you will work as a result of this
activity?

135
Unit 19 – Conflict Transformation 5

Purpose
The purpose of this module is to create a team spirit amongst the participants
and make them understand the benefits of teamwork. Since it is also the last
session on conflict transformation skills, the aim is to consolidate the learning and
to deal with any outstanding questions from participants.

Resources
• Flip chart, markers, and tape

Unit objectives
By the end of this unit, participants will be able to:

• Understand why team work is important and useful

• Gain a better sense of the team
• Gain some basic conflict transformation skills
• Evaluate the units on conflict transformation skills

Duration: 60 minutes

136
Notes to Facilitator Learning Activity 1

Duration: 30 minutes Teamwork

• Divide participants into small
Resources groups, and ask them to compose a
salad which they would all love to
eat - using various ingredients
The main point of this activity is that (onions, green salad, rice, tomato,
participants appreciate that working as cheese, pineapple, etc.)
a team is sometimes essential for the
success of a project. • Repeat the same exercise, but ask
participants to write a menu for a
restaurant with everyone’s full
agreement.

• Debrief as a whole group and

discuss how the team did or did not
work together to successfully
complete the exercise. How could
the team have worked together
more efficiently? Why is teamwork
sometimes essential to the
successful completion of a project?

137
Notes to Facilitator Learning Activity 2

Duration: 30 minutes Team Building

Resources • Mention to participants that this is

the last learning activity within the
• Flip chart, markers, and tape conflict transformation units, and
we will be closing it with the major
learning we got from the 5 units.
Note 1: Always bring the conversation
back to their personal experience and
• Divide participants into small
the learning they have gained from the
groups and ask them to come up
field experience.
with 3 “big ideas” they have
learned from the conflict
Note 2: Depending on the interaction,
transformation units. How is this
you can suggest the following final
information and learning going to
thoughts or prepare a flip chart with
be useful to them in the writing of a
them.
soap opera?
“Every fight is one between different
• Ask a representative from each of
angles of vision, illuminating the same
the groups to write down their
truth.” – Mahatma Ghandi
responses on a flip chart, and
present them to the large group.
• Critical and creative thinking:
Always, look beneath the surface
• Discuss as a group (see Note 1).
and beyond the events in order to
uncover the interests, needs or
• If time permits, show the previously
values. Become “centred” and call
prepared flip chart of final thoughts,
upon your inherent wisdom for
and ask for feedback (see Note 2).
guidance and understanding.
Suspend judgement in order to
discover positive challenges and
opportunities that can lead to mutual
satisfaction.

• Gender dynamics: Gender matters!

Women are a highly valuable, but a
greatly under-utilised and misused
resource in conflict and its
resolution. Find ways to empower
women to exhibit many of their
special abilities and learned
practices of empathy, compassion,
and modes of communication.

138
• Cultural diversity: Culture matters
and influences our daily reality
consciously and unconsciously.
When working in cross-cultural
situations, recognise how our own
cultural frameworks and worldviews
may affect our behaviour. Learn the
cultural frameworks of others.
Understand the differing orientations
and values which different cultures
place on such items as ways of
expressing anger, saving face, and
personal space. Learn to
acknowledge and to embrace or
incorporate these differences (when
possible, and appropriate).

139
Unit 20 – Script Writing Team

Purpose
The purpose of this module is to help participants understand: why a team of
script writers is necessary; how they can benefit from each other’s diverse
experiences; and how best to work together to achieve the most effective and
imaginative results. It introduces the subject of tag team writing but does not fully
explore the subject, which is covered in Unit 23.

Resources
• Flipcharts, markers, and tape
• Prepared flipchart

Unit objectives
By the end of this unit participants will be able to:

• Describe why a team of writers is necessary

• Explain how their different experiences and attitudes will enrich the soap
• Explain ‘modelling’
• Describe how tag team writing works
• Identify solutions to possible problems they may encounter

Duration: 105 minutes

140
Notes to Facilitator Learning Activity 1
Duration: 20 minutes Benefits of Writing as a
Team

Resources • Ask participants to call out

• Flipchart, markers, and tape possible advantages to writing as
a team. List responses on the
flipchart.
Note: The important points for the
participants to understand are, 1) that • Discuss (see note).
writing a soap series involves a lot of
work, and 2) that once broadcasting
has started it can not be stopped – it is
like a runaway train. Writing as a team
distributes the pressure among a
number of people, so if one falls sick
the others can keep the series going.

• Even if only two episodes are

broadcast each week those
episodes have to be written, edited,
re-written, acted, recorded and
distributed for broadcasting in time.
• To build up a loyal listenership, and
to have the impact we hope for,
each episode must be broadcast at
the right time on the right day. So
if there is only one writer and that
writer falls sick, or wants to take a
holiday, the soap suffers.
• There are also advantages related
to creativity – the more creative
individuals involved, the better the
soap is likely to be.
• Each writer brings his/her own
experience to the writing, his/her
own stories and understanding.
• In addition writing can be a lonely
profession; it is good to have
colleagues with whom you can
discuss everything related to the
soap.

141
Notes to Facilitator Learning Activity 2
Duration: 30 minutes Experiences and Attitudes

Resources • Tell the participants that this

exercise is called ‘Scavenger
• Flipchart, markers, and tape Hunt‘. The task you will give them
must be completed within a
A previously developed list of items specific time period. Set other
(note that the number of copies rules as necessary (e.g., they
provided – one or more – to the team must stay within certain physical
might also serve as a contributing boundaries).
factor to various team approaches).
• Provide the team with a
comprehensive list of objects to
Note 1: The objective is to quickly obtain (for example: a 1969 coin,
immerse group members in a task- a particular flower, a live ant, a roll
oriented activity, so they develop a of kitchen paper, a car license
team identity and understand that plate, etc.) (see note 2).
each member of the team brings
something different and positive to the • When the time period is up, score
team – based on their own individual the team based on the number of
experiences and attitudes. items obtained, and possibly
award them with a prize.
Note 2: It is best to include items that
are feasible to obtain, but that may
require either ingenuity or collaborative • Ask and discuss the following
effort within the team to accomplish. questions:
• How did the team organise itself
to complete the tasks (e.g., with
individuals or pairs assigned to
specific items, with everybody
trying to do everything, etc.)?
• How was this method chosen
(e.g., ‘We thought it over and
decided it was best’, or ‘We just
jumped in and began the task’)?
• How successful was the method
chosen?
• What will you do differently if you
are assigned a more serious
work task as a team?

142

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected? you?
• Have you learnt something new
that inspired you to change future
training?

Notes to Facilitator Learning Activity 3

Duration: 10 minutes ‘Modelling’ Behaviour

Resources
• Ask participants to locate 20.1 in
• Flipchart, markers, and tape
the Workbook and to imagine how
each of the people listed, in turn,
would describe the participants as
Note: The purpose of this exercise is a group.
for the participants to realise that, as
they come from different backgrounds, • List their answers on the flipchart.
it is difficult to describe them as a
group in mono- • Debrief.
ethnic/social/religious/political terms.
This means that they ‘model’ the
desired cooperative, multi-
ethnic/social/religious/political society,
which is almost certainly one of the
intended outcomes being promoted by
the soap.

In other words the writers are

themselves modelling the cooperative,
positive and non-adversarial behaviour
they are seeking to promote with the
soap.

143
Notes to Facilitator Learning Activity 4

Duration: 15 minutes Tag Team Writing

Resources • Sit participants in a row and very

quietly whisper a message into
• Flipchart, markers, and tape
the ear of whoever is at the end of
the row, so that no one else can
hear it. Whisper it fast and once
only, then ask the person to pass
the message on – whatever they
heard or thought you said. Each
person passes the message on in
this way, with no repetitions, until
it reaches the end of the row. The
last person to receive the
message says it out loud.

• What happened? Ask participants

to find reasons for the distortion of
the message and write them on
the flipchart.

• Tag team writing is a method of

working as a team of writers
without losing the message. Each
writer writes a number of
consecutive episodes, based on
the overall storyline, rather than
everyone working on every
episode. This system is very
dependent on cooperation, on
fully discussing with and informing
the other writers, and on regular
meetings with the creative team to
examine the way the plot is
developing.

• Tag team writing is a great way to

write a soap, but if it starts to go
wrong it goes wrong in big ways.
Remember the whispering game
and make sure that you fully
inform and discuss every plot twist
and character development you
put into the episodes you write.

• Tag team writing is discussed in

more detail in Unit 23.

144
Notes to Facilitator
Learning Activity 5
Duration: 30 minutes Problems/Solutions

Resources
• Ask participants to list the
• Flipchart, markers, and tape
problems they think they may
encounter while writing the script
(see note).
The main problems will likely be
related to issues of:
• Invite the participants to think of
- managing time (sticking to
and to list possible solutions to
deadlines)
each problem.
- sharing information across the
team
• Discuss: If some problems seem
- incorporating messages into the
intractable… then what?
plot
- avoiding the reinforcement of
stereotypes
- creating realistic characters who
attract the audience
- maintaining the pace and humour
of the drama week after week

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected? you?
• Have you learnt something new
that inspired you to change future
training?

145
Unit 21 – The PEPMeet

Purpose
HCR and SFCG want to promote and emphasise the importance of evaluating
and monitoring script writing and script writing standards. The purpose of this
module is to introduce scriptwriters to a method of maintaining script writing
standards, planning new topics, and stimulating ideas and creativity.

Resources
• Flipcharts, markers and tape
• Brief_The PEPMeet
• DOC_A Bundle of Sticks
• DOC_Safe and sound

Unit objectives
By the end of this unit participants will be able to:

• Explain the advantages of the PEPMeet

• Conduct a PEPMeet effectively
• Contribute to a PEPMeet discussion
• Adapt the PEPMeet to their own working environments

Duration: 150 minutes

146
Notes to Facilitator
Learning Activity 1
Duration: 15 minutes Purpose of Meeting

• Ask participants if they have had

Resources experience with meetings to
• Flipchart, markers, and discuss or evaluate their work in
tape other contexts.

• Ask them to explain what the

Note: Prompt with suggestions that
purpose of the meetings was and
PEPMeets help to:
what they did at the meetings.
• Maintain standards by evaluating
• Ask them what the advantages of
what is being done against an
those meetings were.
agreed measure
• Plan new work and generate ideas
• Prompt with questions related to
• Promote creativity
the suggestions (see note).
• Identify resources
• List on flip chart and discuss

• If participants say they do not

already conduct such meetings,
ask them if any difficulties emerge
because of the lack of discussion
and co-ordination.

• List on flip chart and discuss.

• Point out that we are going to

learn how to conduct the
PEPMeet (programme evaluation
and planning meeting), which is a
method of maintaining broadcast
standards, planning new topics
and ideas, using creativity, and
identifying resources.

147
Notes to Facilitator Learning Activity 2
Duration: 15 minutes Skills Required for
Evaluating
Resources
• Flipchart, markers, and tape

• Ask participants: What are the

Could prompt with ideas like: most important skills and attitudes
• Be non-judgemental required for evaluating the scripts
• Be honest and programs of your work
• Be committed to quality colleagues?
• Be open
• Don’t be self-defensive • List on flipchart and discuss.
• Be able to separate the personality
behind the work from the work
• Be able to look for the positive as
well as the negative
• Be able to communicate clearly
• Be willing to clarify ideas (“Do you
mean that…?”)
• Be willing to initiate suggestions
(“Could we approach it this way…)

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What opportunities are there to

appeared critical to the learners? review the scripts and programs of
• How equal were the opportunities colleagues in your workplace?
for participants to share their views • What new ideas did you learn as a
and to learn? result of this activity?

148
Notes to Facilitator
Learning Activity 3
Duration: 15 minutes Why do a PEPMeet?

Resources
• Explain that PEPMeet is an
• Flipchart, markers, and tape
acronym for:
• Brief_PEPMeet • P = Programme
• E = Evaluation
• P = Planning
Facilitators should read and be • Meet = Meeting
thoroughly familiar with the content of
Brief_PEPMeet, which explains what • Write on the flipchart the key
the PEPMeet is and why it works. It words from the six reasons why
also provides a PEPMeet checklist. the PEPMeets work (see notes).

• Explain briefly.

• Invite comments and discuss.

Notes to Facilitator
Learning Activity 4
Duration: 15 minutes Three Steps of the
PEPMeet
Resources
• Flipchart, markers, and tape
Briefly describe the three PEPMeet
steps (see notes):
1. Decide a suitable time for all
Details of the three PEPMeet steps scriptwriters to meet together
are outlined in the Brief_PEPMeet 2. Read script together
document. 3. Go through checklist, looking for:
- Positive elements
- Elements needing improvement
- Scriptwriter's response
Then brainstorm.

149

Quality Check
For Facilitators: For Participants:

• What main points did the • Why does the PEPMeet process
participants learn? seem logical or illogical?
• What do the participants still not • What points did you learn in this
understand? activity (or want to remember)?
• What have you learnt and what • Why are these points important for
needs to change in future training? you in your situation?

Notes to Facilitator Learning Activity 5

Duration: 30 minutes PEPMeet Role Play

Resources • Locate section 21.1 in workbook

for the blank checklist.
• DOC_Bundle of sticks
• Two facilitators prepared for • Prepare two facilitators for the role
the role-play play. One facilitator will now
conduct the PEPMeet with a co-
The purpose of this exercise is to facilitator taking the part of the
demonstrate how to conduct the script writer. We suggest that you
PEPMeet. This exercise should not do not use workshop participants
exceed twenty minutes, so you will in these roles at this stage.
need to choose a script of about 5
minutes in length. • Form the participants into a circle,
so that they can participate in the
“Bundle of Sticks” is a short English script reading and followthe
language script, which has been discussion.
provided for your convenience for
evaluation purposes. Ideally you • Distribute your own short radio
should provide your own script, which drama script or use the one
is appropriate for the participants’ provided, called “Bundle of
context and language. Sticks,” and allocate parts to the
participants.
.
• After reading the drama,
demonstrate the three steps of the
PEPMeet - all the participants
should take part. You may want
to leave out some of the questions
to save time. Also, some of the
points may not apply (such as Q
27, "Does the episode end with a
strong cliff-hanger?").

• After the demonstration, invite

comments and discuss.

150

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What are your views about the

process and outcomes? PEPMeet now that you have seen
• How ready are quieter participants it in action?
to be exposed to the critiquing and • How do you feel now that you
the discussion required in the have seen what the PEPMeet
PEPMeet? What do you need to involves?
do to prepare them? • What, if anything, do you need
more help with?

151
Notes to Facilitator
Learning Activity 6
Duration: 15 minutes Identify Potential
Problems
Resources
• Flipchart • Ask participants to explain the
problems they have with writing
The problems most likely to be scripts.
suggested by the participants will
relate to: a lack of ideas, a lack of • List responses on a flipchart.
resources, a lack of creativity, a lack of
preparation time or a lack of • Identify those likely to be satisfied
coordination. Therefore, from time to by the PEPMeet.
time episodes are not consistent or
there are gaps in the plot. • Ask if they think the PEPMeet will,
or will not, work in their own
contexts.

• List and discuss responses.

• Ask whether the items or criteria

in the checklist will be helpful?

• What will they change to suit their

needs?

• List and discuss responses.

Quality Check
For Facilitators: For Participants:

• What do you need to do in • What have you learnt as a result

response to the difficulties or of this exercise?
barriers that were raised? • How has the exercise helped you
• What needs to be changed for to learn about anticipating
future training? difficulties and resolving them?
•

152
Notes to Facilitator
Learning Activity 7
Duration: 30 minutes Applying the PEPMeet

Resources
• Locate section 21.2 for second
• DOC_Safe and sound
blank checklist.
• Workbook
• Divide participants into groups of
five or six (depending on the
A short drama script, called “Safe and number of characters in the drama
Sound,” has been provided for your - see note).
convenience for evaluation purposes.
Ideally you should provide your own • Distribute your own short radio
script, which is appropriate for the drama script, or use the one
participants’ context and language. provided, called “Safe and
Sound”.

• Ask for one volunteer in each

group to act as a facilitator and
conduct the PEPMeet.

• When participants return, discuss

the findings of each group.

Quality Check
For Facilitators: For Participants:

• What happened in terms of • How well were group dynamics

process and learning outcomes? managed?
• What have you learnt and what • What needs to happen for
needs to change in future training? effective teamwork and
collaboration to take place in your
workplace?

153
Notes to Facilitator
Learning Activity 8
Duration: 15 minutes Adapting the PEPMeet to
Your Own Situation
Resources
• Workbook • Locate section 21.3 in workbook.
• Flipchart, markers, and tape
• Ask participants to complete the
questions, which relate to the
PEPMeet, in their own contexts.

• Brainstorm with participants some

of the problems and potential
solutions to using the PEPMeet in
their own situations.

• Write main points on flip chart.

Quality Check
For Facilitators: For Participants:

• What happened in this transition in • How confident are you that you
terms of process and of learning can introduce the PEPMeet to
outcome? your workplace?
• How did you encourage • How confident are you regarding
participants to go beyond what was your skills to lead a PEPMeet,
expected, and to show initiative now that you have done this
and decision making power? exercise?
• What did you think about the • How was your experience
responses of the participants? different from or similar to what
• What have you learnt and what you expected or experienced in
needs to change in future training? the past?

154
Unit 22 – Pre-testing

Purpose
Successfully communicating messages for conflict transformation is difficult.
Topics are often complex, controversial, inconclusive, emotive and evolving.
Moreover, the target audience may not be particularly open to the message. The
purpose of this module is to alert script writers to the importance of pre-testing
drama scripts with the audience, so they can improve its relevance and quality,
and reduce the likelihood of iatrogenic (negative unintended) effects.

The design team's aim in doing formative research for the concept document was
to “get the right message”. Having done that, pre-testing helps us to “get the
message right”. Getting the right message means establishing the message
content that will most help the target audience to transform their conflict
behaviour. Getting the message right refers to implementing the message in a
manner that will hold the audience’s attention and enable them to understand and
believe it.

Resources
• Flipcharts and markers
• Workbook
• CD_Atunda Ayenda
• Short newspaper or magazine article to distribute or insert in Workbook
• Sample script that is not broadcast standard (find your own to insert into the
workbook or use the sample already there)
• Prepared flipchart

Unit objectives
By the end of this unit participants will be able to:

• Describe the reasons for pre-testing conflict transformation drama scripts

• Describe the five main areas of pre-testing that are significant for the writer
• Describe two methods used for pre-testing
• Participate in a focus group to pre-test a serial radio drama

Duration: 100 minutes

155
Notes to Facilitator Learning Activity 1
Duration: 10 minutes Reasons for Pre-testing

Resources
• Show the video clip now, if one is
available. If not share the verbal
If possible, find a controversial video example with the participants.
clip to show to the participants. The
video should exemplify the possibility • Ask participants:
of unintended negative side effects. • What did you think of the clip
Pre-testing is essential for the or example?
detection and prevention of • What was its purpose?
unintended, negative effects. • How and why was it effective?
• Who do you think was the
If a clip is not available, find or make intended audience?
up an example of an instance where • What effect do you think it had
unintended negative effects went on the intended audience?
undetected. Think of the different • What unintended effect do you
ways and different levels the effects think it had?
could affect the audience negatively if
they go unnoticed. A pilot test allows • Discuss problems with the clip or
possible effects to surface. example. Highlight the
importance of pre-testing by
doing a pilot test (see notes).

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected or you?
experienced previously with other
learners?
• Have you learnt something new
that inspired you to change future
training?

156
Notes to Facilitator Learning Activity 2
Duration: 10 minutes Purpose of Pre-testing
Pilot Scripts
Resources
• Flipchart, markers, and tape • Ask participants what they think is
the purpose of pre-testing.
Note 1: In the discussion ensure that
• List and discuss (see note 1).
the following points come out. The
pilot scripts should:
• Explain:
1. Introduce the main characters and
• Pre-testing takes place before
the central, uniting character(s) to
full-time script writing and
test that they are acceptable to the
production begins.
audience and that the audience is
• A sample script is either read
likely to trust and believe in them.
aloud by actors or recorded
2. Test to ensure the message is
and played to a representative
clearly understood and believable.
sample of the target audience.
3. Test to ensure the message is
• After listening to the reading or
relevant.
recording, the audience
4. Test to ensure the message has
answers questions that have
the desired impact (remember the
been prepared in advance.
overall objective of the drama serial
• Usually three or four episodes
is behaviour change).
are tested.
5. Test that there aren't any
unintended messages or effects
• Ask participants (writers):
communicated.
• Will you feel threatened having
6. Test that the language and idiom of
your work assessed in this
the drama is appropriate.
manner? (see note 2)
7. Test that the listeners find the story
interesting and would like to hear
• Explain that sometimes before a
the ongoing saga.
formal pre-test is done, some
writers like to try out ideas on
Note 2: It is essential that script
members of the audience.
writers do not feel threatened when
their work is critiqued. This is often
easier said than done. It is natural to
feel defensive of one’s work.
However, script writers need to
develop a thick skin and to not take it
personally. The work may be
critiqued, but personality must never
come into it. For that reason a
question framework has been
developed which we will explore later.

157
Notes to Facilitator Learning Activity 3
Duration: 10 minutes Methods of Testing

Resources • Explain that there are several

• Flipchart, markers and tape methods of testing, the following
are the two most common:

Self-administered questionnaires: 1. Self-administered

questionnaires:
Advantages The purpose here is to get
• are inexpensive individual reactions from members
• can test with many respondents at of the target audience -a minimum
once of 20 and a maximum of 100.
• do not require staff time to interact After listening to the recording or
with respondents, dramatised script reading, an
• can be completed anonymously anonymous questionnaire is filled
• can be analysed quickly in by each participant.
• are easy and usually quick for
respondents • Ask participants: What are the
pros and cons of this method?
Disadvantages: (see notes)
• do require a literate audience
• are not good for in-depth analysis 2. Focus groups:
of why the audience responds a This is perhaps the most common
certain way method for pre-testing. As there
• may require further follow-up are always two or more parties to
• can be expensive if an incentive is a conflict, this involves at least two
required group discussions of 8-12
members of the two (or more)
Focus groups: target groups. A group facilitator
leads the discussion, guided by a
Advantages discussion outline, to assess the
• increase group interaction and script. Focus groups are useful to
length of discussion, and stimulate gain in-depth qualitative
more in-depth responses information from the audience.
• good for gaining emotional
response from audience • Ask participants: What are the
• flexible (facilitator can extend or pros and cons of this method?
change line of questioning) (see notes)

Disadvantages
• inaccurate if individuals are
influenced by group
• not anonymous so people don’t
feel at liberty to share honestly
• time consuming

158
Notes to Facilitator Learning Activity 4
Duration: 10 minutes Setting Up the Pilot Test

Resources
• Explain:
• The project manager should
set up the pre-test at an
appropriate time and venue.
• Pilot programmes should be
written strictly according to the
concept document guidelines
for: target audience, plot and
message development; and
structure of the plots,
characters and settings for the
serial.
• Ideally pilot scripts should be
drawn from different episodes
eg.1, 15, 25 & 30. (In reality,
often the first five episodes are
written and then tested. In
theory if the first 5/6 are OK
then the rest are likely to be.)
• The pilot programmes should
be recorded or actors should
be available to do a dramatic
reading of the script.
• The evaluation team should
comprise of the project
manager, members of the
design team and the script
writer/s.

159
Notes to Facilitator Learning Activity 5
Duration: 10 minutes What Questions to Ask

Resources
• Workbook • Locate section 22.1 in workbook.

CERTS are the five areas that should • Explain the five main ‘CERTS’
be tested in a radio serial drama. It categories, which are located in
stands for: the workbook (see notes). These
are provided as a framework for
1. COMPREHENSION – Is the the evaluation of serial radio
message clearly understood? dramas. They can be
2. ENTERTAINMENT – Is the drama incorporated into a questionnaire
entertaining enough to attract and or used as guidelines for a focus
hold the audience’s attention? group discussion.
3. RELEVANCE – Is the message
likely to be perceived as relevant • The questions in each category
by the target audience? are intended to be suggestions.
4. TRUST– Is the plot and are the Evaluators may add or remove
characters credible to the questions from the list provided in
listeners? the workbook.
5. STYLE – Is the style of the writing,
language, use of sound effects
working well?

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • How do you think the pre-test will
dynamics of this activity? help you as a scriptwriter?
• What, if anything, should you • What do you think is the
change for future training? importance of a pre-test?
• How did participants respond to the • Do you think you will feel
idea of having their work threatened by having your work
scrutinized in a pre-test? evaluated so closely?
• Do you understand the process?
• Did you have anything you wanted
to share but could not? Why?

160
Notes to Facilitator Learning Activity 6
Duration: 30 minutes Conduct a Focus Group

Resources • Arrange participants into focus

• Workbook groups. Facilitator may want to
• CD_Atunda Ayenda facilitate the focus group
him/herself, or appoint a facilitator
You may play the audio programme from among the participants.
provided or find a more appropriate
example. • Play sample radio drama Atunda
Ayenda or another one from the
accompanying audio CD.

• Allow focus groups 30 minutes to

review one aspect of the
programme in the CERTS
framework (section 22.1 of the
workbook). Each group should
tackle a different CERTS
category.

Notes to Facilitator Learning Activity 7

Duration: 10 minutes Debrief Focus Groups
• Ask participants:
Resources • Were the focus groups able to
answer the questions raised in
the CERTS framework?
• What were some of the
problems?
• What could have been
improved?
• Did the drama entertain?
• Would people listen again?
• Who was the intended
audience?
• What was the message?
• Was it clear?
• Was the message natural or
forced?

161

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What have you learnt as a result

process and outcomes? of this exercise?
• How was this result different from • How was it, or was it not, helpful
or similar to what you expected or to analyse the programme in such
experienced previously with other detail?
learners? • How confident are you that you
could conduct a focus group on
your own?
• What problems do your foresee?
• How would you do it differently?

Notes to Facilitator
Learning Activity 8
Duration: 10 minutes Implementing the
Feedback
Resources
• Explain that after running the
focus group:
• The evaluation team should
tabulate the results and
discuss the feedback with the
writer and other members of
the review team.
• Special attention should be
paid to problems raised in the
five CERTS areas and be
discussed. Then changes
should be made when
necessary.
• If a serial has been well
designed and well written,
there should not be a need for
major re-writing.
• Changes and
recommendations that surface
during the pre-tests should be
used as guidelines for future
scripts.

162
Unit 23 – Tag team and next steps

Purpose
This module highlights some of the problems that could be encountered with tag
team writing. It outlines the basic process and provides some principles and
methods to help make writing in a team as easy as possible.

Resources
• Flipcharts, markers, and tape
• OHP_Teamwork
• DOC_Tag disaster
• Workbook
• Newspapers and masking tape

Unit objectives
By the end of this unit participants will be able to:

• Describe the process of tag team writing

• Identify the main problems associated with tag team writing
• Develop appropriate solutions to possible problems that could be encountered
when tag team writing
• Decide on the next steps in the development of a radio serial drama for
conflict transformation

Duration: 120 minutes

163
Notes to Facilitator Learning Activity 1
Duration: 20 minutes Problems of Writing in
Tandem
• Divide participants into groups.
Resources Tell them that they are about to
• Workbook write a story as a “tag team”.

• Instruct one person in each group

to write the opening paragraph of
a short story in 23.1 of the
workbook. Then the person to his
or her left will read the first
paragraph and add another
paragraph to the story. They will
then pass it to the third person to
add a third paragraph etc. This
process will be repeated until
there are six paragraphs. (Note:
They are not allowed to discuss
or plan the story. They must re-
read what has been written each
time they add to the story to
ensure it is coherent. The story
should end after the sixth
paragraph).

• Ask participants to read their

stories.

• De-brief after each story:

• Did the story work out?
• If not, what went wrong?
• Did you work well together?
• If you had been able to plan,
what would you have done
differently?
• Do you think you can apply this
to your current situation?

164
Notes to Facilitator Learning Activity 2
Duration: 10 minutes Problems of Writing in
Tandem

Resources • Get two participants (preferably

• DOC_Tag disaster male and female) to read the tag
team disaster story (DOC_Tag
disaster).
The discussion should highlight the
need for: • Explain that although the example
• regular team meetings is amusing it has a serious
• writers to read/listen to what has purpose. It shows the need to
been written before plan a storyline and to work
• writers to keep a diary together to execute the plan.
• team members to inform each
other of changes • Ask participants what they can do
• style sheets to be maintained (for to make sure they work well
consistency) together as a script writing team
• story line and sub-plots to be (see note).
maintained

Quality Check
For Facilitators: For Participants:

• What attitudes and aptitudes • What new things did you

appeared critical to the learners? learn?
• How was this result different from • How has this activity changed
or similar to what you expected or you?
experienced previously with other
learners?
• Have you learnt something new
that inspired you to change future
training?

165
Notes to Facilitator Learning Activity 3
Duration: 5 minutes Team Dynamics

• Show motivational slide about

Resources teamwork.
• Flipchart, markers and tape
• OHP_Teamwork • Ask participants to:
• Describe a situation they have
observed in which team
dynamics helped a group
achieve its objectives, and a
situation in which the reverse
was true.

• Debrief.

Notes to Facilitator Learning Activity 4

Duration: 45 minutes The Paper Tower

• Divide participants into teams for

Resources the following exercise and give
• Flipchart, markers, and tape each team a stack of newspapers
• Stacks of newspapers and and a roll of masking tape.
masking tape • Instruct the teams that they have
15 minutes to plan a paper tower
that will be judged on 3 criteria:
height, stability and beauty. No
physical work is allowed during
the planning period.

• Give the teams 15 minutes to

construct the tower they have
planned.

• Have each participant examine all

paper towers after the 15 minutes
construction period. The teams
are to come to a consensus as to
which tower is the winner. A
spokesperson from each group
will report its decision and the

166
 criteria the group used in reaching
it.

• Brainstorm (listing common

threads on flipchart):
• Do you know about what
percentage of the plan each
team member contributed?
• Did a single leader emerge
from the group? Who? Why
do you think that person
became leader?
• Did some people take on the
task of getting the job done
while others managed the
human relations by making
encouraging comments?
• Did helpful/unhelpful
behaviours emerge during the
planning and building
sessions?
• Do you know what
characterised the most
effective group?

Quality Check
For Facilitators: For Participants:

• What was your assessment of the • Has this activity helped you to
dynamics of this activity? understand team dynamics?
• What, if anything, should you • Did you think more/less time
change for future training? should have been given to the
activity?
• Was there anything you wanted to
share but couldn’t, and if so why
not?

167
Notes to Facilitator Learning Activity 5
Duration: 20 minutes Writing as a Team

• Locate workbook section 23.2.

Resources
• Workbook • Ask participants
• Flipchart, markers and tape • What problems/issues are you
likely to encounter as a writing
Each writing team will have its own team?
unique problems, whether it is the
geographical distance between • List on flip chart and discuss.
writers, technological barriers (e.g.
poor telephones/e-mail connectivity), • Ask participants:
language barriers, or community • How can you overcome these
pressure. The facilitator should problems/issues?
encourage participants to identify
potential problems and to think about • List on flip chart and discuss.
ways they could be resolved.

Quality Check
For Facilitators: For Participants:

• What happened in terms of • What have you learnt as a result

process and outcomes? of this exercise?
• How was this result different from • How do you feel about being part
or similar to what you expected or of a script writing team?
experienced previously with other • Where do you think you need
learners? more help?

168
Notes to Facilitator Learning Activity 6
Duration: 20 minutes Where to From Here?

• Locate section 23.3 in workbook.

Resources
• Workbook • Lead participants in an open
• Flipchart, markers, and discussion about how they can
implement their learning, which
tape
can lead to their writing of a serial
radio drama for conflict
transformation.

• List ideas and actions, ensuring

that there are names against
actions with a timescale.

• Ask participants to write ideas and

actions in their workbooks in the
space provided.

Quality Check
For Facilitator: For participants:

• What happened in the transition in • How did you feel about the next
terms of process and learning steps?
outcomes? • How realistic are they?
• What have you learnt and what • How do you think the team
needs to change in future training? dynamic will work?
• Will you be able to implement the
agreed actions?

169
Unit 24 – Closing Session

Purpose
This manual contains a suggested outline for the closing session of the course.

Note: This manual does not include the following resources, but you may want to
consider them:
• Cultural item or musical item
• Guest speaker
• Closing dinner or meal
• Photographs
• Refreshments

Resources
• Participants’ Expectations Materials

• Awards or certificates
• Evaluation form
• Your follow-up plans
• Certificates of Appreciation; gifts (if appropriate)
• Photographer
• Refreshments

Unit Objectives
By the end of this unit participants will:

• Review their expectations

• Evaluate the course
• Provide feedback
• Receive certificates

Duration: 80+ minutes

170
Notes to Facilitator Activity 1
Duration: 15 minutes Reviewing Expectations

Resources • If you used a Participants’

Expectation Activity in the opening
• Participants’ Expectations
session, review it now to
Materials determine whether participants’
expectations or objectives were
met or achieved.

Notes to Facilitator Activity 2

Duration: 15 minutes Open Feedback

Resources • Give participants an opportunity to

• Guest speaker express their feelings about the
module/course. Either make a
general invitation for volunteers or
ask several participants prior to
this session.

• Ask the participants to express

their feelings about the
module/course.

• A special guest could offer some

motivational remarks here.

Notes to Facilitator Activity 3

Duration: 10 minutes Presentation of Awards or
Certificates
Resources • Present certificates and any
• Awards or Certificates relevant awards.

171
Notes to Facilitator Activity 4
Duration: 20 minutes Evaluation

Resources • Distribute photocopies of

evaluation form (see note).
• DOC_Course evaluation
form Procedure
• Ask participants to move around
the training room, looking at the
Note: An Evaluation form has been flipcharts to remind themselves of
provided for you to photocopy or to what they learnt and what they
modify for your needs. did.

• Ask participants to complete the

evaluation form.

• Stress that participants should not

write their name on the form.

• Ask someone to collect the forms.

Notes to Facilitator Activity 5

Duration: 10 minutes Implementing the
Learning
Resources • Ask participants:
• Flipchart • What are likely problems you
may have in implementing
what you've learnt?
• How could you overcome
these?
• How will you maintain
motivation to implement your
learning?

• List and discuss the problems.

• Ask participants to identify

ways in which they can stay in
touch with each other.

172
Notes to Facilitator Activity 6
Duration: 10 minutes Follow Up

Resources • What plan do you, the facilitator,

have for following up with the
• Your follow up plan
participants and contacting their
supervisors?

• You may want to discuss with the

participants the follow-through
steps you plan to take.

Notes to Facilitator Activity 7

Duration: as appropriate Thanks and Close

• You may want to express your

Resources thanks or offer certificates of
• Certificates of Appreciation appreciation (or gifts) to people
• Photographs who made a special contribution.
• Refreshments
• Last minute administration or
housekeeping announcements.

• You may want to take

photographs and have
refreshments.

173
BACKGROUND BRIEFINGS FOR FACILITATORS
Radio soap operas for Peacebuilding - Part 2

DO NOT REPRODUCE OR DISTRIBUTE TO PARTICIPANTS

1
Unit 2 – Where scriptwriter fits

2.1. JOB DESCRIPTIONS

The Executive Producer and Producer can be the same person and/or some of
the jobs can be swapped from one to the other, or even given to someone else,
such as a programme manager. You want to avoid a situation in which the
Producer is so busy that s/he doesn’t have the time to really pay attention to the
sound effects (sfx) or the actual recording. It’s also important that the sound
engineer understands that s/he is working directly for the Producer – it’s not
his/her job to make changes to the way the script is written, but to record exactly
what’s in the script.

EXECUTIVE PRODUCER
• Advisory Panel member (depending on degree of input)
• manages the budget
• organises and signs contracts and copyright waivers with producer, actors,
writers, Advisory Panel members, sound engineer, recording studio and radio
• handles logistics (do the writers have pencils, paper, computer discs, etc., do
the actors have the money to get a taxi to the recording studio, etc.)
• organises Advisory Panel meetings, workshops, focus groups and all pre-
testing of the drama
• helps devise an advertising campaign, and organises pre-testing of this
material with a small team (not the writers)
• helps produce and disseminate the publicity material
• provides the link between all the different elements of the team (Advisory
Panel, producer, writers, actors, focus groups, publicity, studio, radio, etc.)

PRODUCER or PROGRAMME MANAGER

Before the recording date:
• Advisory Panel member
• works with and informs the Executive Producer
• gives auditions to actors and decides who to cast in which part(s)
• organises and manages rehearsals
• finds and helps record the theme tune (for beginning and end of the drama),
with input from the Advisory Board, creative team and focus groups
• arranges time(s) for recording with the radio/studio and sound engineer, and
makes sure that everyone is informed well in advance
• listens to all the music and sfx for the serial drama, before the recording date,
to ensure that it is suitable and that it is changed if it is not suitable
• ensures that each of the main actors has a microphone, and understands how
the recording will work
• goes through the script with the sound engineer before the recording date to
check for any inconsistencies or potential technical problems
• decides with the sound engineer whether the drama can be recorded in ‘real
time’ (preferable) or not

2
 On the day of the recording:
• ensures that each actor, the sound engineer and him/herself has a copy of
the entire, correct, updated script
• demonstrates to the actors exactly how the recording studio works and the
importance of not tapping a pencil, breathing too close to the microphone,
rustling paper, etc.
• manages all aspects of the recording (his/her job at this point is not to change
the script at the last minute, but to ensure that the script is followed exactly)
• directs the actors in terms of how they say their words (style, intonation, etc.),
how quickly/slowly they say their words etc.
• follows the script word for word and sfx for sfx, and marks his/her script
wherever there’s a mistake
• decides whether to go back and re-record a mistake immediately, or whether
to leave it to the end
• ensures that the sound engineer doesn’t miss any mistakes when he/she’s
either recording or editing drama
• ensures that the final recording is the agreed 15 (or 20 or 30) minutes long (+
or – 30 seconds, depending on what’s agreed with the radio)
• ensures that all music and sfx are inserted into the script at the right place for
the right length of time
• checks the master recording by listening to it all the way through before
leaving the studio, and before it’s burnt onto the CD copy
• double checks that the recording is programmed into the radio computer at
the correct time for the correct day (or, if the radio works off CD or minidisk,
ensures that whoever is responsible for the programme at the radio receives
the final version of the drama on CD or minidisk or whatever is required)
• listens to the broadcast and notes things which worked really well and things
which didn’t

ADMINISTRATIVE ASSISTANT

STUDIO PRODUCER

WRITER(S) – 3- 8, employed on a contract basis

• participates in all discussions of concept document, outlines, drafts, re-writes
and final scripts
• writes outlines, drafts and scripts in line with concept document, and makes
changes/additions as agreed with Advisory Panel and/or as necessary from
results of focus groups/pre-testing
• provides finished product in printed and computer disc versions to deadline

ACTORS (don’t employ too many)

• rehearse drama part(s) assigned by the Producer and have an understanding
of the whole script
• read assigned drama part(s) in recording studio in the way demanded by the
Producer and exactly as written in script
• re-read drama part as many times as demanded by the Producer

3
SOUND ENGINEER or STUDIO TECHNICIAN
Before the recording date:
• collects all relevant music and sfx for the serial drama
• goes through the script with the producer to check for potential technical
problems
• ensures that the studio has the required number of microphones (one for each
of the main actors), and all other equipment which might be necessary
• marks all music and sfx in his/her script

On the day of the recording:

• records the drama, adding music and sfx wherever it is demanded by the
script
• follows the script word for word and sfx for sfx, and marks his/her script
wherever there’s a mistake
• edits the drama
• programmes the final, edited version of the drama into the radio computer at
the correct time for the correct day
• copies the final version of the drama onto CD (given to Producer), and makes
additional copies as demanded by Programme Manager

RESEARCHERS
Research the stories and story lines as directed by the programme manager.

ADVISORY BOARD
The Advisory Board is made up of individuals who have knowledge and interest
in the society (they could be writers, social workers, NGO directors, media
people, etc.). They will need to attend at least 6 all-day meetings during the
initial, six-month preparation stage. They contribute to the discussion on the
nature of the messages, the target audience, the storylines, characters, etc.

TRANSLATOR
Translates all the scripts and other relevant documents into the language of the
funders (if different).

4
Unit 2 – Where scriptwriter fits

2.2. HOW THE P-PROCESS WORKS

The P-Process was developed by Johns Hopkins University, as stated in Esta de

Fossards’s “How to Write a Radio Serial Drama for Social Development: A Script
Writer’s Manual”. The model shows the different steps involved in developing a
programme. Phase two is when the script writers actually becomes involved after
the preliminary research and analysis, and sponsors have been chosen. “At this
point, project planners identify their audiences, determine project objectives,
choose appropriate media channel(s), bring together collaborating organizations
and creative staff including script writers and establish a design team.”1 Script
writers decide all the details of form and content, which will then be compiled in a
design document to be used in phase three. In the third phase the script writers
begin development and production.

Reference:

de Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore, pg. 3-4.

1
de Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore, pg. 3-4.

5
Unit 3 – Write for radio final

3.1. STRENGTHS & WEAKNESSES OF RADIO

Strengths
The main strengths of radio are associated with the technology and character of
the medium:

• Radio receivers are cheap, and can be run off of batteries

• Radio listeners don’t need a special, learnt skill (such as literacy) to be able to
hear the broadcasts
• Radio production is less complex than TV and it is cheaper, making it a cost-
effective way of reaching a lot of people
• Radio production, transmission and listening are very portable, meaning radio
programmes can be made and heard anywhere, anytime
• Radio programming is usually widely available to communities and
populations, meaning that many people are able to listen at the same time,
lowering the cost of reaching people
• The community can be involved, especially through talk-back radio or through
radio projects in which audiences contribute to the programme
• Live programming provides immediacy
• Radio broadcasts can cross social, cultural and political barriers, promoting
equal access to information
• With suitable production and education techniques, radio can increase
knowledge
• Radio can trigger the imagination through sounds and words (pictures for the
mind)
• Radio can quickly respond to community needs
• Radio is personal - listeners develop an affinity for the radio presenter, even
though they have never met
• Radio serial drama enables listeners to become involved and to identify with
the lives of the characters as if they were real people

Weaknesses
Radio has its weaknesses, however, which are also related to the technology and
character of the medium:

• Radio just uses sound, but other media (such as TV) uses sight and sound
• Radio transmission disappears as soon as it’s broadcast. You can’t go back
to it again, like you can read and re-read a magazine
• Radio can’t be sampled as a magazine can. With radio, a listener has to start
at the beginning and listen to the programme as it comes. Print media have
the advantage of being able to give much detail, whereas radio demands
easy-to-comprehend programming

6
• Unlike face-to-face communication, there is delayed feedback — although
talk-back programmes and techniques that allow people to participate can
overcome this weakness
• Because of radio’s immediacy, mistakes can be made if there is not enough
time to consider all factors or get all of the facts. Some of these mistakes can
result in misleading information or views and opinions that are not carefully
thought through
• Many studies show that radio is more effective when it is used in conjunction
with other media

7
Unit 4 – Serial Radio drama for social change

4.1. ALBERT BANDURA

Social Learning Theory

Albert Bandura was born in 1925 in Mundare, Canada and has written many
books on his psychological research. He is most famous for his development of
the Social Learning Theory, which was first published in 1973 in his book of the
same name. The theory rests on the belief that the ‘individual personality is
moulded by behaviour, thought, and the environment’.2 According to Bandura,
people learn from both direct experience and observation of others. The theory
stresses the importance of observational learning, meaning that people learn
through observing their environment and modelling the behaviour they see.
Great emphasis is placed on the way people perceive different behaviour,
specifically if this behaviour is rewarded or punished. If a certain type of
behaviour is rewarded, the observer is more likely to adopt it. The theory states
that the human experience is ‘the interaction of cognition, environmental events
and personal experience’.3 However, because people have a great capacity to
learn via symbolism (such as language, cultural traditions, arts, music, etc.) and
observation, ‘personal experience’ does not have to be direct experience. Thus
as our behaviour is shaped by the environment, the environment is reciprocally
shaped by our behaviour. This exemplifies the potential for media to play a direct
role in the behaviour and attitudes that people adopt, which can in turn lead to
conflict transformation.

Reference:

“Albert Bandura”, www.rpi.edu/%7Everwyc/bandura.htm.

Isom, Margaret Delores, 1998, “Albert Bandura: The Social Learning Theory”,
www.criminology.fsu.edu/crimtheory/bandura.htm.

For further information:

www.bdrum.com/Bandura/theory3.htm

http://teachnet.edb.utexas.edu/~lynda_abbott/Social.html

2
“Albert Bandura”, www.rpi.edu/%7Everwyc/bandura.htm.
3
Ibid.

8
Unit 4 – Serial Radio drama for social change

4.2. SABIDO METHOD

The Sabido Method “is a methodology for designing and producing radio and
television drama that can win over audiences while imparting messages and
values.“4 Miguel Sabido developed it in the late 1960’s, while he was Vice-
President of Research at Televisa - Mexico’s largest broadcast network.5 He
applied the principles of Albert Bandura’s Social Learning Theory to education
entertainment programmes. The method implements positive (good), negative
(bad) and transitional/change characters into programmes to demonstrate
different choices and their consequences.6

A great deal of research is demanded by the method, to gather “the customs,

norms and narrative forms that are familiar to the audience.”7 The Sabido
Method focuses on emotional and cognitive factors to influence the audiences’
behaviour.8 Therefore, “audience members identify with the characters and
these characters become role models for the adoption of new attitudes and
behaviors.”9 If the characters’ experiences mirror those of the target audience,
then the audience can grow and learn as the characters do. Characters can
portray many different perspectives on an issue, which can then build
compassion and understanding in the audience.10 The Sabido Method has
proven effective in many different countries and for many different purposes.

Reference:

“Global AIDS Program: Strategies,” www.cdc.gov/nchstp/od/gap/strategies/2_7_bcc.htm.

Henrich, Dan, “Education Entertainment Programming,”

www.newwway.org/articles/edutainment.htm.

“PMC Program Fundamentals – Sabido Method,”

www.populationmedia.org/programs/sabido.html.

4
“PMC Program Fundamentals – Sabido Method,”
www.populationmedia.org/programs/sabido.html.
5
Dan Henrich, “Education Entertainment Programming,”
www.newwway.org/articles/edutainment.htm.
6
“Global AIDS Program: Strategies,” www.cdc.gov/nchstp/od/gap/strategies/2_7_bcc.htm.
7
Ibid.
8
Ibid.
9
Ibid.
10
Ibid.

9
Unit 4 – Serial Radio drama for social change

4.3. ZONE OF PROXIMAL DEVELOPMENT

Zone of
Proximal
Current
Development Knowledge
& Beliefs of
Target
Audience

Lev Vygotsky’s Zone of Proximal Development (ZPD) shows that there is a limit
to how far one can go outside the learners’ (audience’s) experience, beliefs, and
current knowledge without losing them. In creating edu-tainment programmes,
one must have a grasp of the target audience’s current level of knowledge. As
Turan Ali states: “We must make sure we know ‘where our target audiences are’
in terms of knowledge, belief...etc., or we cannot create a drama for them that
takes them into ‘the zone’.”11

Learning occurs within the ZPD, which expands as listeners’ current knowledge
and beliefs expand, and as time goes on. In other words, the listeners’ current
knowledge should grow with the soap opera. But there is a fine line between
going too far outside the ZPD and not pushing it enough. Turan Ali claims:
“There is a fertile area just outside current knowledge/skills/belief where new
facts/practices/ideas will be willingly accepted and tried. If we play too safe (not
yet, or not far, into the zone) there is little or no new learning. If we are too
ambitious (outside the zone) no learning takes place as it is rejected as irrelevant
or incomprehensible (in terms of their current knowledge/understanding).”12 In
essence, the model sets the arena for social learning and the applications of
social learning theory. Thus the programmes should always aim to take the
listeners one step beyond their current knowledge.

11
Turan Ali, “Making a Difference Through Drama Serials: Harnessing the Power of Drama,”
Berling-Institut für Weltbevölkerung und globale Entwicklung: Berlin, 2002, p.26-27.
12
Ali, p.26.

10
For further information:

www.arts.uwaterloo.ca/~acheyne/ZPD.html

www.cehs.wright.edu/~cfinegan/TeachingResources/Ede_712_301/Vygotsky.ppt

Reference:

Ali, Turan, 2002, “Making a Difference Through Drama Serials: Harnessing the Power of Drama,”
Berlin-Institut für Weltbevölkerung und globale Entwicklung: Berlin.

11
Unit 5 – Conflict Transformation 1

5.1. CONFLICT CIRCLE

These are some examples to discuss. During the brainstorming you can come up
with others.

DATA PROBLEM
• Lack of
Information
• Misinfomration
• Different views

RELATIONSHIP PROBLEMS
• Emotions
• Misperceptions
• Poor communication

NEEDS AND INTERESTS

• Procedural
• Substantive
• Psychological

VALUES DIFFERENCES
• Religion
• Beliefs

STRUCTURAL PROBLEMS
• Geography
• Legal structure
• Unequal power
• Unequal control /access to resources

12
Unit 5 – Conflict Transformation 1

5.2. APPROACHES TO CONFLICT

Competing is assertive and uncooperative – an individual pursues his or her own

concerns at the other person’s expense. This is a power-oriented mode, in which
one uses whatever power seems appropriate (ability to argue, rank, economic
sanctions etc.) to win. Competing might mean ‘standing up for your rights’,
defending a position that you believe is correct, or simply trying to win.

Accomodating is unassertive and cooperative – the opposite of competing.

When accommodating an individual neglects their own concerns to satisfy the
concerns of the other person: there is an element of self-sacrifice in this mode.
Accomodating may take the form of selfless generosity or charity, obeying
another person’s order when one would prefer not to, or yielding to another’s
point of view.

Avoiding is unassertive and cooperative – the individual does not immediately

pursuer their own concerns or those of the other person. They do not address the
conflict. Avoiding might take the form of diplomatically sidestepping an issue,
postponing an issue until a better time, or simply withdrawing from a threatening
situation.

Collaborating is both assertive and cooperative – the opposite of avoiding.

Collaborating involves an attempt to work with the other person to find some
solution which fully satisfies the concerns of both parties. It means digging into an
issue to identify the underlying concerns of the two individuals and to find an
alternative, which meets both sets of concerns. Collaborating between two
people might take the form of exploring a disagreement to learn from each other’s
insights, and trying to find a creative solution to the problem.

Compromising is intermediate in both assertiveness and cooperativeness. The

objective is to find some expedient, mutually acceptable solution, which partially
satisfies both parties. It falls on a middle ground between competing and
accommodating. Compromising gives up more than competing but less than
accommodating. Likewise, it addresses an issue more directly than avoiding, but
doesn’t explore it in as much depth as collaborating. Compromising might mean
splitting the difference, exchanging concessions, or seeking a quick middle-
ground.

It is important to note that one approach is not superior to another. All have their
benefits and drawbacks, and all can be appropriate in different circumstances.
According to Thomas-Killman, ‘All five modes are useful in some situations: each
represents a set of useful social skills.’

13
The conventional wisdom of an English proverb recognises, for example, that
‘two heads are better than one’ (collaborating). But other proverbs say, ‘Kill your
enemies with kindness’ (accommodation), ‘Split the difference’ (compromise),
‘Leave well enough alone’ (avoid), ‘Might makes right’ (compete). Everyone is
capable of using all approaches at different times, though some people may be
more skilled than others at utilising certain ones. There is no right or wrong
approach.

Reference:

Thomas-Killman, 1974, ‘Scoring and Interpreting the Thomas-Killman Conflict Mode Instrument’,
Xicom Inc.

14
Unit 7 – Researching the audience

7.1. CONFLICT ENVIRONMENT

Understanding the conflict environment

While conflict can be disturbing, painful, destructive and even catastrophic, it is
also an essential engine of social learning. Social learning occurs when an
individual or group objects to the current state of affairs and proposes
improvements that bring about progress and development. Conflicts arise when
others disagree about the desirability of these proposed changes. When trying to
understand the conflict environment, the main focus is on conflict that leads to
violence.

Our aim is to use radio to try to de-escalate conflict behaviour, to change

attitudes, and to transform relationships. To do this we need to understand the
conflict environment and how it leads to violence. Peace researcher Johan
Galtung makes a distinction between direct violence (children are murdered),
structural violence (children die from poverty and related problems such as
malnutrtion) and cultural violence (variables that blind us to violence or seek to
justify it). Stated very simply, we end direct violence by changing conflict
behaviours, we end structural violence by removing structural injustices and we
end cultural violence by changing attitudes. There are many models to help us
understand violent conflict, but for the purposes of this exercise we will use this
simple model proposed by Galtung.

1. Direct violence - individuals or groups intending to hurt or kill people. Easily

identifiable examples are:
• Intimidating or bullying
• Hitting
• Beating
• Stabbing
• Shooting
• Bombing
• Raping

2. Structural violence - political mechanisms, processes and institutions that

influence the distribution and satisfaction of security, and recognition and identity
needs. Examples are:
• Unequal distribution of resources (such as health care)
• Exploitation of vulnerable members of society (e.g. women & children)
• Sub-standard housing
• Wide disparity between rich and poor
• Social injustice
• Corruption
• Poverty and illiteracy
• Systems based on exploitation (extreme = slavery)
• Excessive material inequality

15
• Institutionalised racism (e.g. apartheid)
• Patriarchy
• Colonialism
• Corruption-collusion-nepotism

3. Cultural violence - images and stories that justify or glorify violence.

Examples are:
• Hate Speech
• Xenophobia
• Persecution Complex
• Myths and legends of war heroes
• Religious justifications for war
• Patriarchy
• ‘Orientalism’
• Civilisational arrogance (dismissing other peoples and societies as ‘primitive’
or ‘barbarous’)
• In unit 6 (activity 2) participants broke down the conflict into pre-disposing,
enabling and reinforcing risk factors. The grid below marries the types of
violence and the risk factors associated with them. There is an imaginary
example of each type of violence in an imaginary society provided below.
Associated with this is an example of a risk factor and a possible message
that could be developed for a soap opera to address that risk factor.

16
RISK PREDISPOSING ENABLING REINFORCING
FACTORS FACTORS FACTORS FACTORS
(enable a behaviour or
(predispose people to a (reinforce the carrying out
a situation to occur)
certain behaviour) of a behaviour or the
maintenance of a
TYPE OF situation)
VIOLENCE

1. Direct Example of violence: Example of violence: Example of violence:

Donkas intimidating Donkas intimidating Donkas intimidating
violence people from the people from the people from the Ubunga
(intimidation, Ubunga ethnic group Ubunga ethnic group ethnic group who own
bullying etc.) who own shops and who own shops and shops and businesses.
businesses. businesses.

Pre-disposing factor: Enabling factor: Reinforcing factor:

From childhood the Ubunga and Donka Donkas mixing with
Donka group learn that communities never mix Ubungas is severely
Ubungas are dishonest - they live in separate frowned upon by the
and cannot be trusted. parts of the city and Donka community.
their children go to
different schools.

Message: Attributes are Message: Make an Message: It is important

not universal to any effort to get to know to take a stand against
ethnic group. Learn not others who are different prejudiced attitudes.
to judge others along from you. Co-existence
ethnic lines. is possible.

2.Structural Example of violence: Example of violence: Example of violence:

Corruption in the Corruption in the Corruption in the country
violence country of Zimba country of Zimba of Zimba perpetuates a
(children die perpetuates a cycle of perpetuates a cycle of cycle of poverty, distrust
through poverty poverty, distrust and poverty, distrust and and resentment
etc.) resentment. resentment.

Pre-disposing factor: Enabling factor: Reinforcing factor:

From childhood people Corruption is accepted Officials get into office
are taught to get ahead by society as a way of based on people they
by hook or by crook. life. Corrupt officials know, favours they have
are never punished. built up and nepotism.
Message: It is better for
the community rather Message: A society Message: Integrity is the
than for a few where corruption is best criteria for choosing
individuals to benefit. widespread will be elected officials. Officials
Community members prevented from should not be elected
will put the interest of advancing economically based on sentiments or
the community above and socially. personal advantage.
their own.

17
RISK PREDISPOSING ENABLING REINFORCING
FACTORS FACTORS FACTORS FACTORS
(predispose people to (enable a behaviour or (reinforce the carrying out
a certain behaviour) a situation to occur) of a behaviour or the
maintenance of a
situation)
TYPE OF
VIOLENCE

3. Cultural Example of violence: Example of violence: Example of violence:

People from a high People from a high People from a high
Violence religious class in the religious class in the religious class in the
(variables that country of Dharti are country of Dharti are country of Dharti are
blind us to violence protesting against a protesting against a protesting against a new
or seek to justify it) new policy, which new policy, which policy, which states that
states that schools states that schools schools must reserve
must reserve 30% of must reserve 30% of 30% of their openings for
their openings for their openings for people from the lowest
people from the people from the lowest religious class.
lowest religious class. religious class.

Pre-disposing factor: Enabling factor: Reinforcing factor:

People in the country For hundreds of years The upper classes in
believe it is their religious teachers have Dharti are afraid of or
divine right to have perpetuated the myth unwilling to change for
privilege over and that people are born to fear that society will fall
above the lower a position in life and apart.
classes who were that they cannot move
born to that station. out of it.

Message: All people Message: Providing Message: Progress

are created equal people with an cannot take place without
and have a right to education and positive change and
equal opportunities. opportunities will allow some risk-taking.
them to improve
themselves and to
benefit society as a
whole.

18
References:

Galtung, J., 1978, Essays in Peace Research, Copenhagen, Ejlers.

Green, L. and Kreuter, M. Deeds, S, Partridge, K., 1997, Health Education Planning – A
Diagnostic Approach, Palo Alto, Mayfield Publishing.

Hawe, P., Degeling, D. and Hall, J., 1990, Evaluating health promotion: A guide for health
workers, Sydney, MacLennan and Petty.

Howard, R, 2002, An Operational Framework for Media and Peacebuilding, IMPACS, Vancouver.

Lederach, J., 1997, Building Peace: Sustainable Reconciliation in Divided Societies, Washington,
DC: United States Institute of Peace Press.

Lynch, J., 2001, Reporting the world: The findings, A practical checklist for the ethical reporting of
conflicts in the 21st Century, produced by journalists, for journalists, August, 2001.

Miall, H., Ramsbotham, O., Woodhouse, T., 1999, Contemporary Conflict Resolution, Polity
Press, Cambridge.

19
Unit 7 – Researching the audience

7.2. OBSERVATION GUIDELINES

These rules are fairly generic and may not apply to all circumstances. Therefore,
facilitators should develop, adapt and add rules that are appropriate to their
situations.

Participants’ empathy should be reflected in their sensitive questioning and

attentive listening. It is very important to understand the values of the
community/communities prior to visiting, and to respect its/their traditions and
customs once there.

Facilitators may feel that it is appropriate to work through local NGOs or

community organizations and to invite them to provide a briefing; they have
already built trust and relationships within the community. These people are in
the best position to provide participants with background information and insight
into the customs and values of the community/communities.

Additional rules of observation:

• No food should be taken or consumed during the course of the Field Learning
Experience; only bottles of water are acceptable. This is to model sensitivity
towards marginalised groups and lessens their feeling that they are being
treated like a "tourist attraction".
• Photographs should only to be taken with express permission of the the
person(s) to be photographed.
• Respect and adhere to any dress codes adopted by the community. (This
may mean women have to cover their heads, arms etc.).
• Respect and adhere to any cultural codes adopted by the community (shaking
of hands, touching, washing, removing footwear, not speaking to men/women,
etc.).
• Respect and adhere to any religious codes adopted by the community.
• Remember to be courteous at all times and ask the permission of the
community leaders before seeking interviewees.

20
Unit 7 – Researching the audience

7.3. TARGET AUDIENCES

Introduction
According to Turan Ali, a target audience is a group of people who share
common beliefs, goals, and perceptions - whether they realise it or not.
However, soap operas can have multiple target audiences, and can have
different objectives and messages for the different targeted groups.

Macro Target Audiences

The macro target audience covers a large number of people and will likely
address an issue or belief that would be widely held in the
society/community/country (such as a universal truths, environmental fears etc.).
Then there can be one message that specifically focuses on this issue or belief.

Micro Target Audiences

The micro target audiences are much smaller than the macro target audiences.
They consist of specific groups and they will be “particularly affected by the
different plot lines and characters”. This allows the programmes to create certain
characters and plot lines that will specifically appeal to different groups.
Therefore, having micro target audiences allows programmes to incorporate
content that can specifically touch upon the realities of each group. Essentially,
this allows programmes to be more powerful and dramatic to more people.

Implications and Conclusions

If programmes target macro and micro audiences, there is an increased
probability of appealing to a wider range of listeners and their experiences,
holding their attention and passing on the intended message.

Reference:

Ali, Turan, 2002, “Making a Difference Through Drama Serials: Harnessing the Power of Drama,”
Berlin-Institut für Weltbevölkerung und globale Entwicklung: Berlin, 2002, pg. 48-50.

21
Unit 8 – Conflict Transformation 2

8.1. ANALYSING CONFLICT

How do we analyse : A model

1. conflict history
• significant events
• change in relationship

2. context
• how do parties resolve conflicts?
• how do they communicate?

3. primary parties
• parties directly involved
• interests and positions
• perceptions of each other
• do they have settlement authority?
• do they have constituencies?

4. additional parties
• are other parties affected ?
• what are the roles they play ?
• are there alliances ?

5. issues
• what issues are identified?
• hidden issues
• what type of issues
• is there escalation?
• are parties polarised?

6. options
• what are the options available?
• do parties know of the options?
• are they aware of each other’s options?
• how realistic are the options?

22
Unit 14 – Elements of a Good Soap
14.1. ELEMENTS OF A GOOD SOAP

Cliff-hangers
The format device that brings audiences back day after day and year after year is
known as the "cliff-hanger," which ends the episode or scene at a peak moment
of suspense. The conflict or the problem is left unresolved and the audience is
left wondering, "What happens next?". If the drama has connected emotionally,
the audience will be back for the answer. As a rule of thumb, try to end each
scene on a note of suspense, or at least, with an unanswered question. Leaving
the action incomplete holds the audience’s attention as they wait to find out what
will happen next in that particular plot or sub-plot.

Sub-plots
Unlike the highly condensed action of a play, a soap opera's main plot
progresses slowly to accommodate a number of simultaneous stories or sub-
plots. All of these sub-plots must have a bearing on the main conflict, must be
occur in the same time frame, and must eventually intersect. Many writers find it
challenging to divide an episode into scenes that depict several plots
simultaneously. It is easier for both the writer and the audience if each of the
plots are introduced separately in the early episodes of a serial. It is also
important to link scenes together clearly, so that the audience is not confused
about what is happening. Even as the story moves from plot to sub-plot to sub-
plot, the dialogue should give some indication of how each plot links with the
others.

Consistency and Sequence

A soap opera needs to be consistent in every detail if the audience is to find it
convincing. To keep track of the action and the time sequence, the writer should
keep, and update a plot chart or diary that: covers every episode in the script;
indicates how much time has passed within or between episodes; and notes in
what episode a predicted event (such as a birthday) should occur.

Time
Time moves differently in a soap opera than it does in other dramas. In fact, it
moves almost as slowly as it does in real life, which helps the events seem as if
they were actually happening as they're heard. Contrast this to a play or a film
where a year's events might be covered in a few minutes. The soap opera is
more likely to take an hour or more to cover the events of a single day. This
makes it possible for listeners to miss a few days without losing too much of the
story. The conflicts unfold one minor event at a time. A note under the door can
lead to numerous small complications that take weeks or even years to untangle.
In each episode, only a few minutes of real action takes place.

23
Action
The action of a soap focuses on the activities of daily life and personal
relationships - hardships, setbacks, conflicts, ambitions, misunderstandings,
courtships, marriages, births, sicknesses, deaths and all the things that come in
between.

The Hook
The beginning is most important – this is what “hooks” the audience. If this part
of the drama does not work your listeners will desert you.

Emotion
You have to generate an emotional response from the audience, particularly for
the main character(s); they should create a stronger response than the other
characters do. Emotion = love, hate, admiration. Your target audience has to
empathise with your main change character, it has to empathise with him/her or
the intended outcomes will be lost. In general an emotional connection between
the dialogue and the listener equals good radio drama. Each daily instalment of
the soap opera draws on true-to-life situations that are rich in suspense and
humour, and fraught with the never ending battles between good and evil, love
and hate, jealousy and trust, hope and despair, triumph and tragedy.

Dramatic Conflict
The action that occurs in every soap opera is fuelled by a dramatic conflict (not to
be confused with the conflict which we are trying to address). Dramatic conflict
comes in many forms. Most often characters are pitted against each other
because of opposing goals and desires. Sometimes an individual must battle
against an external force or situation, such as the farmer who struggles to survive
drought. Often the conflict is within a person's own nature, such as a young
man's struggle between his loyalty to his rural family's need of him and his own
attraction to life in the city. The conflict could involve any one or all of these, but
in each case, the dramatic situation involves conflict and struggle. It is this
confrontation between opposing forces that gives life to all drama.

Signposting
Signposting is the technique for establishing the location at the beginning of a
scene. This is often done with music or with sound effects, and is sometimes
backed by description. Most often these effects are introduced (faded in) at the
top of the scene, before the dialogue begins. Speech may begin quickly unless
more seconds are needed to strengthen the effect of this signposting on the
listener. If a new location, especially an outside location, is being established,
the audience will need more time to absorb this information.
References:
Brooke, P. 1995, Communicating Through Story Characters, University Press of America, New
York.

Crook, T., 2003, Principles of Writing Radio Drama, [Online], Available: www.idrp.co.uk.

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore.

24
Unit 15 – Listener Learner

15.1. CONSTRUCTIVIST THEORY

To introduce and explore the concept of the listener-learner, we’ll look at its
separate parts in turn: learning and listening.

1. Learning

Learning is more than just acquiring information. The constructivist theory of

learning suggests that learners construct knowledge as opposed to merely
“hearing” and collecting data or information. Learning is an active, yet
unconscious, process of self-organisation. It follows a sequence ending in the
development of a mental scheme or cognitive map that deals with (processes
and organises) the information the mind receives.

Constructivist theory claims that prior experience and conceptions of the learner
govern what people do with incoming information. Learning is affected not only
by the learner’s internal, unconscious knowledge structures, but by external
factors as well, such as access to information (e.g., whether they have a radio or
not or can afford to purchase a radio). We typically call those external factors,
filters.

In any case, learning occurs when past experience is compared with present
stimuli. If it is considered useful, the information is committed to long-term
memory and the cognitive map is refined, reorganised, changed or altered to
accommodate the new reality.

Theoretical models of change anticipate the cognitive mapping (learning) process

and how individuals and communities will respond to new information or
messages. The extent to which learning (or change) moves through a
community is explained by Everett Rogers’ “Diffusion of Innovations” model -
although a range of other models have been developed since Rogers first drew
attention to the process. Change takes place over time through a social system
as various groups accept and adopt new ideas earlier or later than others do.

Cognitive theory, communication theory and decision-making models, such as

those immediately above, helpfully explain what we observe in communication -
the audience does not passively receive messages.

In this sense, then, an individual or a community tuning into the radio program is
a “learner” who is selecting, sifting and deciding what to do with what is heard.

For a moment, suspend this idea of the radio listener as a learner while we look
at it from another perspective - listening. Then we’ll come back to link learning
and listening.

25
2. Listening

We refer to a person who listens to radio as a “listener”. Listening is the process

of hearing, attending, perceiving and remembering.

THE LISTENING PROCESS EXAMPLE

A radio listener in a car can hear the health

Hearing is physically being able radio spot, other vehicles, ambient sound
to detect a range of aural stimuli from the movement and engine of his own
that we are exposed to. car, perhaps static on the radio due to poor
reception conditions.

The radio listener gives specific attention to

Attending to (isolating) a specific the health spot, ignoring (mentally tuning out)
aural message of value or of other distracting stimuli such as ambient
interest after scanning the noise. The listener will continue to scan the
available multi-sensory stimuli. multi-sensory stimuli (sound, sight, smells),
ready to give attention to something else.

The listener must cognitively process or “fit”

Comprehending and assigning the information into previous experience,
meaning to that stimuli assess it, understand it, decide it’s relevance
(perception). to his needs, then decide whether to do
something about it or not.

Remembering or storing it for use

at some time in the future The listener then stores it into memory.
(cognitive mapping).

Listening is an exploratory processing activity in which the listener continuously

develops a specific readiness for or anticipation of what will come next. This is
based on information he/she has already picked up or “knows” from previous
experience. These anticipations influence what the listener will pick up next. To
experience this, when you next listen to a speaker in a public place try to mentally
tune that person out and give attention (listen) to other sounds, such as the noise
of an air-conditioner, birds in a tree outside and so on. Ask yourself why you had
not heard those sounds before. The answer is that attention was applied to the
speaker at the expense of other stimuli. As meaning was assigned to all stimuli,
each was assessed and a decision (the cognitive mapping process) was made to
accept them or not.

26
3. The Listener-Learner

When we combine learning and listening we rightly position the radio audience as
Listener-learner. Reformulating the idea of radio audience to that of listener-
learners is consistent with theories of learning, change and decision-making. The
listener-learner is a component of a systemic Learning Environment in a cycle of
what Bandura (1986) called reciprocal determinism - an agent of change as well
as an object of change. The concept of the listener-learner reclaims, in radio
programming terms, a more accurate description and picture of what happens
when listeners give attention to our programs.

They are not just listeners. They are also “learners”. That is why we call them,
listener-learners.

Operationalised into radio programming, a sharp distinction is created between

the new listener-learner paradigm and the old paradigm of the audience as a
receiver of information (Table 1). The listener-learner is firmly positioned as a
participant in and a catalyst for change, involved in the process. Your role as a
radio program producer is firmly defined as collaborative and participatory, giving
priority to learning from the community. The focus is correctly on transformation
and using radio in an appropriate way to achieve that result, not using radio as an
end in itself.

27
 TABLE 1: THE LISTENER-LEARNER PARADIGM

LISTENER-LEARNER PARADIGM AUDIENCE-AS-RECEIVER

PARADIGM

• Listener-learners are participants • Audience is uninvolved

• Community is a catalyst for

change • Audience is an object to change

• Listen to the community

• Listen to us

• We get information from the • We get information to the

community community

• Focus is on transformation: • Focus is on transmission:

empowering, enabling and reaching and influencing an
mobilising communities by helping audience in a cost-efficient way
listener-learners learn

• Communication seen as a process • Communication seen as an event

(“We collaborate together over (“We ‘shoot’ them with an info-
time”) bullet”)

Reference:

James, J., 2002, Radio Programming for Health Promotion, Curtin University of Technology,
Western Australia.

28
Unit 15 – Listener Learner

15.2. COMMUNICATION AND THE STEPS TO BEHAVIOUR

CHANGE

There are many different theories of behaviour change, but we have chosen a
version of the Johns Hopkins University "Five Steps" approach. It is simple, it
incorporates elements of other theories, and it explains the process the listener-
learner may go through before adopting new behaviour. These are also the steps
the change characters in the drama need to go through.

The advertising industry is a powerful example of how communication can affect

behaviour as it tries to influence people to switch from one brand to another.
Health promoters have used adverts with powerful effects to influence people to
take up healthy lifestyles (e.g. regular exercise) or to stop risky behaviour (e.g.
smoking). However, research shows that behaviour change rarely happens
immediately after exposure to the message. Usually people must pass through a
series of steps, either quickly or slowly, which leads to the desired behaviour
change.

Research shows that the most effective messages begin with an understanding
of where the audience is located on the steps to behaviour change. They can
then use the most appropriate form of communication to move the audience on to
the next step. n most commonly used models of communication there are five
steps to behaviour change: knowledge, approval, intention, practice and
advocacy.

1. Knowledge refers to being aware of and knowing how to perform the

behaviour that is being promoted. For example, in Macedonia, Nashe Maalo
("Our Neighbourhood") is a children's television programme designed to
promote intercultural understanding, to encourage conflict prevention in a
multicultural society, and to impart specific conflict-resolution skills that
children can use in their everyday lives. This series presents a timely
opportunity to influence an entire generation of children in Macedonia towards
the direction of mutual tolerance and respect.

2. Approval refers to favourable attitudes towards the behaviour being

promoted. People who approve of a behaviour talk about it with others and
tend to think that other people approve of it as well. Approval can occur at
several levels: listeners may approve of a new behaviour for people in
general, for friends and family, and/or for themselves personally. Some
listeners may approve of the behaviour for others, but not for themselves.
Serial radio drama can include a range of role model characters that depict
public approval of a behaviour, express positive emotional reactions towards
a behaviour, or show how personal attitudes respond to public approval. In
the example of Nashe Maalo, given above, the show's central character,
Karmen, who has no specific ethnic affiliation and who serves as a primary

29
 conveyor of mutual respect messages, was popular among children of all
ethnic groups. This is an indicator that the program's core messages are
finding a receptive audience. Macedonian children showed the greatest
positive changes in perceptions of any other ethnic groups. This evolution of
attitudes among the dominant ethnic group is one of the most powerful
findings of our research. Furthermore, Albanian children showed the greatest
positive changes in perceptions of their own ethnic group.

3. Intention to act. The more strongly people approve of a behaviour, the more
likely it is that they will form an intention to act. Intention is the stage just prior
to action; after recognising that the behaviour fills a personal need, the person
decides to try it but has not yet changed his or her behaviour. Intention does
not mean that the behaviour will occur always or immediately. There are
degrees of intention (definitely, probably, maybe) and intention can be
conditional. The design team must identify the personal needs of the
listeners, which are likely to motivate their intentions to act and the conditions
that make such intentions more likely. In South Africa for example, The Soul
City project has won acclaim for the innovative way in which it uses the power
of mass media to promote social development. As violence is a major public
health priority in the country, several of its radio and TV broadcasts have
covered issues such as interpersonal conflict, bullying, gang violence,
domestic violence, rape and sexual harassment.

4. Practice is the actual performance of a behaviour. People with a high degree

of intention are the most likely to actually perform a behaviour. Practice need
not imply confirmed or consistent behaviour, however. Some people try a
behaviour and then reject it. Others start, stop, and start again. People who
perform a behaviour intermittently may have experienced unexpected or
unpleasant consequences, or may require support or reinforcement for their
behaviour. It is helpful to identify who or what may be the possible change
agents that will motivate the audience to try a behaviour and also persist with
it.

5. Advocacy, the final step to behaviour change, is a vital part of the process
because it represents a level of commitment that goes beyond the mere
practice of a new behaviour. Advocates tell other people about the behaviour
they have adopted and encourage them to adopt it too. At the same time,
talking to others can strengthen the advocate's own resolve to continue with a
difficult behaviour. Advocacy also allows people to express community
support for a social change programme. These public expressions of support
for a behaviour can move people through the steps to behaviour change.
They become aware of a behaviour (knowledge), increasing their perception
of public support for a behaviour (approval), motivating them to make a
decision to act (intention), and encouraging them to implement that decision
(practice).

30
References:

Bandura, A., 1977, Social Learning Theory, Prentice Hall, Englewood Cliffs, N.J.

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore.

Figueroa, M., Kincaid, L., Rani, M., Lewis, G., 2002, Communication for Social Change: An
Integrated Model for Measuring the Process and Its Outcomes, Communication for Social Change
Working Paper Series, Johns Hopkins, Baltimore.

Hubley, J., 1993, Communicating health: An action guide to health education and health
promotion, MacMillan, London.

Prochaska, J., Redding, C. and Evers, K., 1997, The trans-theoretical model and stages of
change, in Glanz, K. et al., Health behaviour and health education: Theory, research and practice,
San Fransisco, Jossey-Bass.
rd
Rogers, E., Diffusion of Innovation (3 ed.), 1983, New York, Free Press.

31
Unit 15 – Listener Learner

15.3. LANDMARKS FOR LEARNING

Which of the following comments from a radio listener would you hope for?
a) "Now I know something about that topic." or, b) "Now I know how to make a
change in my life."

Radio programming works best when it provides ideas ("pictures for the mind")
that can motivate and enable listeners. I would be disappointed if a listener
responded to my radio program with sentence a).

Radio script writers and producers can maximise radio's impact with “landmarks”
for listener-learning. I call them " Landmarks for Learning". They are guides or
markers on a pathway of learning that we can use to help listeners to learn - not
just listen. Use the following landmarks for learning to guide your script planning
and content. It will help you to take advantage of radio's strengths and correct its
communication weaknesses.

Associated • Increase understanding with familiar words. In one

Information study of 70 minutes of radio interviews, health workers
used a word likely to be unfamiliar to the audience every
17 seconds, on average.
• Use relevant proverbs, poetry or Scripture.
• Describe familiar images (word pictures) to produce
powerful pictures for the mind. The idea of a withered
flower when it is deprived of water, dramatically
illustrates what happens to a child with diarrhoea if it
does not get enough liquid to drink. Can the message
be linked to a current or historical event or situation? Is
the message culturally appropriate? What have they
already experienced and what do they know?
• Remember, in radio we only have the sense of hearing
to work with. Use silence or pause, pitch, volume,
rhythm and sound effect. Don't just talk – use every
opportunity to bring life into your programs. Let the
listener "see", "touch", "taste" and "smell".
What information does the listener need now? Plan
topics or themes to coincide with relevant seasons or
other appropriate events in the yearly cycle. Listeners
learn if the information can be used straight away, not in
several months time.
Observation • People copy other people when they observe them
performing a behaviour, either in real life or in a drama.
They people that are copied are called role models.
According to social learning theory, role models are most

32
 effective at stimulating learning when observers:

Find them attractive or admirable

Feel they have something in common with them

Have an emotional reaction to them
• Creating negative role models to demonstrate the
unfortunate results of undesirable behaviour is a technique
writers sometimes use.
• Presenting characters that learn from their mistakes and
therefore change from being a negative to a positive role
model, over the course of the drama, can also be very
effective.
• Observing the consequences of people's behaviour can
cause listener-learners to compare their experiences and
even rehearse what might happen in their own lives if they
followed that behaviour.
• Observing can prompt listener-learners to take action by
trying the behaviour themselves.

Believable • Use "role models" who are believable – those who

Characters and themselves have done what is recommended and can
Messages: tell their story, but who are credible to the audience.
• If possible, conflict resolution practitioners should try
things before trying to convince others. We should be
able to say on the radio program, "I have done it."
• If the characters are believable, the message they carry
is likely to have credibility.

Ability to • Are the listener-learners able to change what they are

Change: doing now and follow the recommendations? E.g. Can
Macedonians and Albanians get over their negative
stereotypes of each other? Our credibility, and that of
the radio station, is in danger if we air information that
cannot be applied.
• Acknowledge doubts, difficulties, and “costs” involved?
Give an alternative option if listeners cannot do what is
recommended.
• Does it promote self-efficacy (a person’s belief that
he/she has the ability to perform, to succeed, to be
effective)? Demonstrate that what is being
recommended can be done.
• Are relevant cultural practices, spiritual factors, laws or
policies considered and/or acknowledged?

Motivation to • How can listener-learners achieve what they hope for?

Achieve a Goal: • Motivate listeners by showing them how they can
benefit, or achieve something important or of value to
them, if they use the information. Does the new
behaviour/action offer any advantage over current
behaviour/action? Magazine or television
advertisements (particularly of drinks or personal
hygiene products such as soap) "sell" a benefit to be

33
 gained from buying or using the product. How can such
"marketing techniques" be incorporated in conflict
resolution radio programmes responsibly?
Sources that • What other communication channels will reinforce the
Reinforce Radio radio message?
Messages: • Radio programmes need the support of more permanent
communication channels. Organise and provide
literature and information services, such as telephone
counselling. Let listeners know where and when support
media are available for further advice. E.g. Soul City in
South Africa has a wide variety of support media to help
people with issues ranging from domestic conflict and
violence to HIV/AIDS.
• Sometimes it is more effective to programme for a
secondary audience (those with influence over the
primary audience) rather than the primary audience
(those we actually want to reach).
• Listeners are more likely to learn, and to change their
behaviour and thinking, the more they discuss what they
have heard on the radio. Encourage them to talk with
family and friends about what they have heard. This
builds up social support and a "climate of awareness"
about an issue.

References:

James, R., 2003, Radio Programming for Health Promotion, Curtin University of Technology,
Western Australia,

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore.

34
Unit 17 - Intended Outcomes

17.1. “NEIGHBOURS”

This briefing is taken from the One World Radio web site. The “Neighbours”
series is copyright One World Radio and the Panos Institute, 2003, [Online]
Available: http://radio.oneworld.net

Story outline

“Neighbours” is a radio drama series for conflict transformation set in a fictitious

country named Beto, which bears a strong similarity to most West African states.
The country is officially known as the People’s Republic of Beto and citizens of
the country are called Betoans. Most of the action in the drama takes place in
the capital city of Beto called Sarabi, and a rural town called Tunbi. Sarabi city is
densely populated and the ancestral home of the Ijegons. However, there is a
large population of Yangalas whose ancestral home is in Tunbi. Other settlers in
Sarabi include the Trumawas, Chua-chuas, Odolos and Ogbotos.

Yangalas: They are mainly fishermen. Originally from across the river, but now
settled in Ijegun land. They have claim to a large land and space. The Ijegons
are very suspicious of the Yangala because they think they are expansionists and
will take over Sarabi if given the chance. The Yangalas dominate the civil service
and control the economy.

Ijegons: They are mostly farmers and the majority of them are not highly
educated. However, they have realised that to get a stake in government, they
have to be educated, so they have started pursuing education.

Turmawas: They are mainly in the armed forces. They come from the desert
region of the country. They are not into farming or trading.

Ogbotors: A small fishing tribe from the southern part of Beto

Chua-chua: A small nomadic tribe from the northern part of Beto.

The series follows the lives of Betoans from these different ethnic groups as they
relate, and show their similarities and idiosyncrasies. The story revolves around
two families in Sarabi city – the Imalotis, a middle class Ijegon family, and the
Elawis, a Yangale family. Mr. Imalti is an Ijegon man who thinks all other tribes
are beneath his own. However, he is married to a Chua-chua woman.

The Imalotis have a daughter, Zinta, who does not share her father’s strong tribal
sentiments. The series visits other people within the surroundings such as
Emalo, a young man from the Yangala tribe, who works in Mr. Imaloti’s fishing
company, and has a relationship with his daughter.

35
The Elawis are from the Yangala and they live next door to the Imalotis. The
series explores their differences as it relates to their ethnic sentiments and
shared interests as members of the same social class.

The listeners are taken through various kinds of conflicts experienced by the
Betanos.

Intended outcomes of series

The series is a situation comedy “SITCOM” that will encourage Africans to

examine and laugh at human foibles, and highlight their commonalities. The
series shows common values and personal idiosyncrasies rather than
stereotypes for groups. The drama series is produced in (Pidgin) English, the
lingua franca of urban regions in West Africa. These 15-minute radio dramas will
depict the interaction of people from diverse ethnic and religious backgrounds as
they relate with one another. The series, titled “Neighbours”, is a soap opera that
will encourage listeners to:
• Examine their differences and commonalities thus encouraging
understanding
• Respect and accommodate each others values
• Discourage stereotyping of ethnic groups

Intended outcomes of episode - Is blood really thicker? (Episode 8)

Topic: Politics and ethnic patriotism

Intended outcome: At the end of the episode listeners will know that integrity is
the best
criterion for choosing elected officials. Officials should not be elected based on
sentiments.

Background conflict approaches in “Neighbours”

Conflicts often arise because of the diversity of ideas, class, religion, economic
status and political affiliation of members in a given society. The situation in
West Africa is not different, over the years the dimension of destruction has risen
considerably. The frequency of in-country and inter-country conflicts has
increased as a result of heightened intolerance among citizens along ethnic,
religious, economic, political and social lines. The excessive exposure to military
atrocities has not helped matters because civic behaviour has bequeathed a
legacy of violence and intolerance. In a bid to solve the problem, various
committees and panels had been set up by various governments. These efforts
have not amounted to much because the problems were addressed purely from
an intellectual perspective.

Audiences

The program aims to educate West Africans of all ages and sexes in both urban
and rural areas on issues of conflict management and resolution. The Panos
Institute invites public, as well as private radio stations to air these series on a
regular basis in their programme schedule.

36
Unit 17 - Intended Outcomes

17.2. CHARACTERS THAT TEACH

How can a message be conveyed through characters?

Through modelling: We are drawn to dramas that emotionally connect with us

because we identify with the story characters and recognise ourselves in them –
either as we are or as we wish we were. We identify with its heroes and heroines
and emotionally experience everything that happens to them. When story
characters are challenged, so are we. When they learn something new, so do
we. When they emerge as winners, so do we. All successful stories will
influence us through the process of our identifying with the leading characters we
admire.

Through change: As in real life people develop and change. In some serial
dramas characters may begin the series exhibiting the opposite of the values the
writers want to communicate. Through interactions with other characters, twists
and turns in the plot, and sometimes even outside interventions, the “change
character” comes to see the value of the programme’s underlying message.

When the characters are realistic and believable: A good story needs characters
we care about. All radio drama characters must have dominant personality traits
or characteristics that help make them who they are. It’s these personality traits,
whether negative or positive, which trigger the action in the drama. Many stories
fail because the writer creates a main character that is too good, without any
flaws.

When the characters are appropriate to the message: Make sure the character is
appropriate to the message that is being given out.

By increasing self-efficacy: That’s a fancy way of saying that when a listener

identifies with a character that shows how to handle him/herself in certain
situations, it helps the listener to adopt the same behaviour/techniques. It
increases their self-efficacy or their ability to deal with the situation.

When the characters are appropriate to the audience: The audience should
recognise the character’s culture, life habits, and general standards of living. If
the audience is rural and poor, then at least some of the drama’s characters that
will eventually demonstrate the new behaviour should be of a similar background.

By varying the characters in personality: This way the writer creates an

opportunity for a wide range of emotional interactions among the different
personalities and in the different plots. It also increases the likelihood that
listeners will find at least one character that is similar to themselves or someone
they know.

37
By limiting the number of characters: No more than three or four characters
should appear regularly in the main plot, and two or three in each of the sub
plots, so it easier for the audience to remember who is who. Any more can get
very confusing.

References:

Brooke, P. 1995, Communicating Through Story Characters, University Press of America, New
York

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore

EE2000, Monkey See, Monkey Do, Challenges in Entertainment-Education Theory, [Online]

Available: www.entertainment-education.nl/conf2000/chap6.htm

38
Unit 17 - Intended Outcomes
17.3. BLENDING THE MESSAGE IN THE PLOT

How can a message be conveyed through the plot?

While some stories (especially radio and TV soap operas) are creations whose
sole intent is to amuse us, many stories carry a message or a moral, even when
there has been no calculated effort to make them instructional. The plot enables
the script writer to bring audiences into direct emotional contact with new ideas
and information that can teach them new skills and challenge their attitudes,
values and even beliefs. De Fossard gives some suggestions as to how to do
this:

• Create an emotional experience

• Tell people a story

• Work within the culture

• Convey ideas rather than words

• Show rather than tell

• Use humour

• Be positive

• Create trust

• Encourage advocacy

• Match or contradict the audience’s identified emotional perspective

• Make characters’ experiences mirror those of the target audience

References:

Ali, Turan, Making a Difference Through Drama Serials: Harnessing the Power of Drama,
Berling-Institut für Weltbevölkerung und globale Entwicklung: Berlin, 2002.

Brooke, P., Communicating Through Story Characters, University Press of America, New York,
1995.

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore, 1997.

39
Unit 18 - Sound

18.1. GUIDELINES FOR THE USE OF SFX

Listen around you – what do you hear? In everyday life, there are always sounds
in the background. You are probably not even aware of many of them because
they are drowned out by your surroundings and your other senses - such as
sight, touch and smell. If it were to be 100% true to life, a soap opera would have
to have non-stop sound playing underneath the dialogue. That, however, would
confuse and overwhelm the listener because on the radio all sounds are noticed
as listeners try, through one sense (hearing), to pick up and process all incoming
information. The best radio script writers are careful and selective in how they
use sound effects. They do not over-use them.

Guidelines for the use of sound effects:

1. Use only sounds that are heard in real life. The peel being removed from a
banana, for instance, is not a sound that is normally picked up by the human
ear, and it should never be used as a sound effect for a radio serial. Dialogue
should never be used to explain a sound that is hard to understand because it
has been poorly recorded. Never ask the listener to figure out the relevance a
particular sound has in your story. Do not try to substitute the sound of a
mechanical car wash for a washing machine. Do not give them a hen when
your script says it is a cock.

2. Use microphone technique instead of sound effects. Script writers may be

tempted to use footsteps to indicate motion into or out of a scene. This could
often better be achieved by having an actor fade into, or out of, a scene by
moving towards the mic (or doing an electronic FADE IN) or away from the
mic (or doing an electronic FADE OUT).

3. Use sound beds sparingly. A sound bed provides continuous sound

throughout a scene. For example, in a market scene the writer may call for a
“Market Background sound bed.” which would add noises typical of a market
throughout the scene. This can be quite distracting, so unless a continuous
sound bed is an essential element of a scene, it is better to avoid it. A similar
effect can be achieved by establishing the sound briefly at the beginning of
the scene and then gradually fading it down and out under the dialogue.

4. Be sure you really need the sound effect. Carefully chosen and placed sound
effects can turn naked dialogue into a lively, thrilling adventure story. Sound
effects are exciting to the ear, but a radio drama’s sound effects need to be
more than decorative. No sound effect should be randomly inserted into a
script just to break up dialogue. All sound effects need to support the plot.

5. Use simple sound effects to establish a setting that is visited frequently. This
lets the audience know immediately where the action is taking place.

40
 6. Avoid exotic sound effects. Sometimes it is appropriate to create a sound that
does not exist, say in an imaginative children’s story or in a drama that
involves unreal things, such as a magic drinking cup. Rarely, however, do
they have a justifiable place in true-to-life radio serial dramas.

7. Audition your sound effects. You may have a CD or tape collection, but must
really listen to the tone, texture and rhythmic tension to see if it can create a
true picture of what you want to achieve. For example, do you really want the
sound of a Mercedes 450 SLC flying along the German autobahn to give the
impression of an old, 1970’s VW Beatle travelling along a pock-marked road
in Sierra Leone?

8. Real sounds are more convincing than synthesized ones. But most things do
not make the sound we think they make, so we need to cheat.

• Most effects you hear - especially in the movies - are actually the result of
at least two people (somewhere else) doing something with two or more
objects (probably unrelated to what you are supposed to be hearing).
• A sound effect most often consists of more than one part - usually several
parts. It is like a mini-drama, with a beginning, middle, and end. It is
meant to indicate some action or event, and it should follow through to
complete that action.
• A door opening is not just one click of the latch. Answering the telephone
must be more than the simple and quiet click actually made when the
receiver is picked up. Rattle, rattle!

In general, the listener should hear the sound effect before the dialogue or action
refers to it, if it is referred to at all.

Types of sound transitions - How you get from one segment or element to
another.

a) Segue - one element stops, the next begins. "Cut" in film.

b) Crossfade - one element fades out, the next fades in and they overlap on the
way.
c) V-Fade - First element fades to inaudible before the second element begins.
d) Fade to Black - V-Fade with some silence between elements.
e) Waterfall - As first element fades out, the second element begins at full volume.
This is better for voice transitions, than for effects.

References:

BBC, 1997, Notes for writers on writing a drama for BBC radio, [Online] Available:
www.bbc.co.uk, London.

Brooke, P. 1995, Communicating Through Story Characters, University Press of America, NY.

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Scrip0t
Writer's Manual, Johns Hopkins School of Public Health, Baltimore.

Stearns, J, Radio Sound Effects, Great Northern Radio Theatre, London.

41
Unit 18 - Sound

18.2. GUIDELINES FOR THE USE OF MUSIC

When you ask people what they associate with radio, invariably music will be at
or near the top of the list. In fact, radio is the single most important source of
music for millions of people all over the world. Radio writers may feel, therefore,
that any programme designed for radio must include generous amounts of music.
This is not true for the radio serial, where over-use of music can be a distraction.

As a general rule, music follows rules similar to those for sound effects, and may
also be used as sound effects. Sound effects have an action emotional content.
Music has more of a reaction, or internal, emotional content. So, usually, you will
introduce the effects (action) first and the music (reaction) second.

Guidelines on when to use music:

1) Always include a signature or theme tune at the beginning and end of each
episode. A theme tune is like the cover of a well-loved book: instantly
recognisable and immediately offering the promise of something enjoyable. It
should always be appropriate to the culture of the audience. It typically lasts
about 10 seconds at the beginning and between 5 and 10 seconds at the end.
Many producers use the theme tune as bridge music between scenes.

2) Bridge music between scenes should be used sparingly – perhaps only before
and after major scenes. Experienced script writers prefer to make a transition
from one scene to the next through dialogue - often with voices fading out of
one scene, a pause and then the next scene fading in. Bridge music is
effective when there is a major scene shift, perhaps when the action moves to
a completely different location or scene in which none of the previously heard
characters appear.

3) Using a musician as a character is a good way of including music in a drama.

If the musician is a regular character in the serial, he/she can introduce songs
that refer in some way to the message being disseminated. Songs set to
attractive, culturally acceptable music are easily remembered and can be a
powerful way to remind the audience of the key points of an educational
message.

4) Avoid over-use of mood music and rely instead on the dialogue to set the
mood. Some writers like to use mood music to help put the audience into an
appropriate emotional frame of mind for a particular scene. Mood music must
be handled very carefully because it can be very distracting.

5) Music should not be mixed too loudly, or it draws attention to itself and away
from the action. It may also interfere with hearing dialogue or effects. Music

42
 in different frequencies from human voices, etc., can be mixed louder without
interfering, and can be more strongly integrated into the sound collage

References:

Brooke, P. 1995, Communicating Through Story Characters, University Press of America, NY;

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Scrip0t
Writer's Manual, Johns Hopkins School of Public Health, Baltimore

Stearns, J, Radio Sound Effects, Great Northern Radio Theatre, London

43
Unit 21 - PEPMeet

21.1. PEPMEET

What is the PEPMEET Process?

A PEPMeet (programme evaluation and planning meeting) is when script writers
who are probably, but not necessarily, part of a radio soap writing team meet to
evaluate a script or series of scripts. It involves the test reading of a script (or
playback of a programme if it has been recorded), giving the reviewers an
opportunity to evaluate and to discuss the script or programme. Reviewers are
guided by the PEPMeet checklist, which provides an objective framework for
giving feedback to the script writer on: ways the script could be improved; ideas
for new themes; topics or characters for future episodes and techniques for
naturally weaving conflict transformation messages into dramas.

Why do PEPMeets work?

• A specific time is regularly set aside to evaluate scripts and plan new ones.
• Individual script writers learn new things as they listen to, discuss and
evaluate others' scripts.
• PEPMeets are efficient. Time is saved and more is achieved when script
writers brainstorm or suggest a wide range of ideas for radio serial dramas.
• A sense of community develops as scriptwriters become familiar with each
other's scripts and understand their writing style. They also get a sense of
where their own episodes fit into or contribute to the overall drama.
• Script writers can liase with each other to share resources.
• PEPMeets strengthen the overall feel of the drama as script writers co-
ordinate themes and plot development, and avoid overlap or inconsistencies.

Three steps to the PEPMeet

1. Decide a suitable time for all producers to meet together. Meetings that are
one-to-two hours, once a week are preferable. Choose someone (not the
script writer) to facilitate the session. Fifteen-minute scripts may be
appropriate for weekly, 45 minute PEPMeets. Scripts can be randomly
selected or sequentially selected to get an overall perspective of content, flow
and plot development.

2. Read the script together (the facilitator should allocate parts). All participants
evaluate it, using the checklist as they participate. All participants should
have their scripts evaluated in turn over a period of time. The frequency of
meetings depends on how many episodes are prepared each week and how
much time is allocated for PEPMeets.

44
3. Go through the checklist below, point by point. After reading (or listening to)
the drama all the way through, allocate about 45 minutes for the review
process. This process should be quick but not superficial, thorough but not
laborious. Some of the elements will require less than a minute to go through,
others more. Any emerging serious issues should be dealt with at another
time. We suggest that the facilitator covers each point in the checklist in the
following order:

• A) POSITIVES: Explore positive things about the scripts (what people

liked). Ask participants to say what they liked in the program and why they
liked it.

• B) IMPROVEMENTS: Identify things about the script that could be

improved. The facilitator must remind the participants to state their views
in a positive way. There should be no personal comments – it is the work
that is being critiqued, not the writer. One useful technique is having the
facilitator insist that the participants begin by saying: "I think one way in
which the script could have been improved is …(positive suggestion)."

• C) RESPONSE: Give the script writer an opportunity to respond. He or

she may: explain why certain things were put in the episode; give details of
difficulties and problems faced when writing that particular episode; or
mention difficulties or frustrations faced in the drama series.

• D) BRAINSTORM: Allow several minutes for the participants to give the

script writer any suggestions related to the script, which were prompted by
the checklist or the development of future themes or ideas.

45
 PEPMeet Checklist
1. Are the SFX and studio directions in the script clear and precise?
a)
b)
c)
d)
2. Does the episode start with a hook that commands the listeners’ attention?
a)
b)
c)
d)
3. Are the music and SFX the right lengths?
a)
b)
c)
d)
4. Are SFX used naturally and do they enhance the scene?
a)
b)
c)
d)
5. Do listeners have all the visual clues they need to picture the story as they hear it?
a)
b)
c)
d)
6. Does the narrator tell too much of the story?
a)
b)
c)
d)
7. Does the story have too much description and not enough action?
a)
b)
c)
d)
8. Is the dialogue natural (e.g. “picture language”, local analogies, local idioms etc.)
and easy to listen to?
a)
b)
c)
d)
9. Are all the dialogue lines “in character”?
a)
b)
c)
d)

46
10. Is the dialogue funny where it’s meant to be?
a)
b)
c)
d)
11. Is the main plot entertaining?
a)
b)
c)
d)
12. Does each scene have a point of interest?
a)
b)
c)
d)
13. Are the scenes smoothly linked together to make it easy for the listener to keep track
of events and actions?
a)
b)
c)
d)
14. Are the settings of the various scenes quickly and easily established, either with SFX
or a few descriptive words in the dialogue?
a)
b)
c)
d)
15. Do characters address one another by name, especially in the opening lines of a
scene, so the audience has no doubt as to who is speaking?
a)
b)
c)
d)
16. Are all character entrances and exits clear?

a)
b)
c)
d)
17. Are all changes in time or in place clear?
a)
b)
c)
d)
18. Are there any unfinished elements in the story?
a)
b)
c)
d)

47
19. Are scenes energetic and is the story pacing dramatic?
a)
b)
c)
d)
20. Does the story action stay focused on “what happens next”?
a)
b)
c)
d)
21. Is the story simple and logical?
a)
b)
c)
d)
22. Is the story imaginative?
a)
b)
c)
d)
23. Can the audience identify with the characters and scenarios they are in?
a)
b)
c)
d)
24. Are the plots and sub-plots believable?
a)
b)
c)
d)
25. Does the writer use evocative word pictures to help the audience visualise the scene
and follow the action?
a)
b)
c)
d)
26. Are the characters credible?
a)
b)
c)
d)
27. Does the episode end with a strong cliff-hanger?
a)
b)
c)
d)

48
References:

Brooke, P., 1995, Communicating Through Story Characters, University Press of America, New
York.

De Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore.

James, R., 2003, Radio Programming for Health Promotion, Curtin University of Technology,
Western Australia.

49
DOCUMENTS FOR FACILITATORS
Radio soap operas for Peacebuilding – Part 2

1
Unit 3 – Write for radio final
3.1. Document – The trouble in Hilastan
Around 35,000 families (or about 80,000 persons) have been displaced, mostly
women and children. A short truce allowed aid and relief agencies to assess
community needs and to provide what assistance they could mobilise. Too soon,
however, hostilities resumed and numbers continue to increase with massive
displacements of entire communities. Thousands leave behind their homes, their
livelihoods and their working animals. They suffer the anguish of displacement,
the insecurity of food, the trauma of man-made fear, and the terrible anxiety for
the future. Both Sehat and Hila tribes control major highways and transport
routes, affecting the movement of commodities and supplies essential for the
economy.

While the Sehat are starting to claim an easy military victory, they may well have
lost the battle for the hearts and minds of the people who share aspirations of
freedom, justice, and peace.

The flames of battle are fed by historical roots and perspectives, which have sunk
deep into the social fabric and cannot be disregarded or neglected.

Each tribe distrusts the other because of past injustices or broken agreements.

Many Hila have been drawn into taking up arms because of poverty, the absence
of livelihood, and the lack of employment opportunities in their homeland. Once
they were predominant, owned ample lands, and had viable economies. Now
they struggle to preserve and protect their nationality and identity, which is based
on their religion and ethnic culture. They believe that their existence faces
certain extinction. They have become a minority in land, people, politics and
economics.

The Hila say the government is responsible for much of their suffering and
insecurity because it is directed and controlled by Sehats. The Hila believe the
Sehats want to keep them as second-class citizens.

In response, the Sehat say the Hila do not accept majority rule and make too
many demands for special political and economic privileges.

2
Unit 5 – Conflict Transformation 1

5.1. Document – Chinese proverb

3
Unit 5 – Conflict Transformation 1

5.2. Document – Impact on relationship

Impact on Relationship
(from negative to positive impact)

Solution to Problem
(from no solution to sustainable solution)

4
Unit 15 – Listener Learner

15.1. Document – Our Neighbours, Ourselves (Umubanyi Niwe

Muryango)
Broadcast by RTNB, Burundi July 2000 (episode # 302)
Translated by Jean-Pierre Nkunzimana

ACT I: CASSILDA and BITWI, monologues.

CASSILDA: Barukinamwo! Barukinamwo! Where did he go, that stupid child? He

has no idea how busy I am. Oh, my! I'm getting old. I'm reprimanding my child
for being absent when I'm the one who sent him away! [Laughing] I forgot.
[Happily] No, I have to invite the neighbors! No, I don't dare sell the first banana
beer I've produced since my repatriation. Frankly speaking, beer is important but
not more important than neighbors. I never could have resettled without their
help. How could I have repatriated if people hadn't told me to be brave and to
come back to my former farm? How could I have met my family's needs or
provided shelter for my children? The neighbors fed my children and built a
house for us. Ooh, what poor conditions I was living in! When they stuck a letter
on my door informing me of a rebel attack on my family, neighbors bravely
intervened and defeated them. I wonder if the attackers were really rebels or
other terrorists? But anyway they all disappeared, thanks to my neighbors. Let
me organize the dishes; today people are coming for a party. Everything is
ready, and we are just waiting for the neighbors to arrive and start drinking.

BITWI [Angrily]: People say Cassilda has prepared banana beer for free. If she
hadn't repatriated, I could have harvested her bananas and sold them! Oh, how
unlucky I am! I wonder why only Cassilda accepted repatriation while everyone
else remained? When she was repatriated, I thought lack of food and shelter
would force her to return to the refugee camps, but unfortunately the neighbors
provided everything, as though she had given birth to a king! When the same
neighbors decided to help her cultivate her farm she became the richest person
in the village! She does not feel the hunger that afflicts us all. Now that she's
offering free beer she will be considered president! If I weren't so afraid of the
police, I would go steal her harvest. [Long pause] Well, those people may be
intelligent, but I am not stupid either. Let me spread this fiction I imagined,
[laughing] so the neighbors will send her back to where she came from like a
football.

5
ACT II: MUKAMUNWA and BITWI.

MUKAMUNWA: Let me hurry up so I can have a glass of that banana beer. This
is an honor for me and very good for Cassilda. I really appreciate her hosting the
neighbors to show her gratitude for their warm welcome. This will be
encouraging to the next refugees who decide to come back home. [BITWI
approaches, coughing] Look at that stupid boy. He is hopeless, because he
doesn't want to work for a living. He should follow the example of my son,
Mbambanyi.

BITWI: I beg your attention. Can you give something?

MUKAMUNWA: We have given to others.

BITWI: I can enjoy the leftovers.

MUKAMUNWA: Why don't you look for a job?

BITWI: I can't find one.

MUKAMUNWA: Do you think people find jobs waiting for them in the road? Take
a hoe and start farming like everybody else!

BITWI: I am not strong enough.

MUKAMUNWA: But you always have pocket money! Well, tell me what brings
you
here, or I'm leaving.

BITWI: You are invited to the banana beer party?

MUKAMUNWA: I was the first to be invited.

BITWI [Bitterly]: That makes sense. I hear you were among the first people to
welcome Cassilda.

MUKAMUNWA: Of course I welcomed her. You want her to settle unaided, as

though she had no neighbors?

BITWI [Sarcastically]: I'm sure she'll show her gratitude to everybody tonight.

MUKAMUNWA: It's true. Those who helped her brew the beer said it is of the
best quality. [Joking] Ladies who don't tighten their loincloths will leave them on
the road going home.

6
BITWI: They will leave more than loincloths; they'll leave themselves.

MUKAMUNWA: Where?

BITWI: In the road.

MUKAMUNWA [Laughing]: Yes, when you drink enough you can't even feel the
cold. You always sleep easily after banana beer. I can see you are not invited.

BITWI: Lucky for me.

MUKAMUNWA: How could you possibly be glad to be excluded from drinking the
best banana beer when you usually enjoy the worst?

BITWI: I drink what's drinkable. If there's crocodile in it, I leave it alone.

MUKAMUNWA: What are you saying?

BITWI: As they say: if you have ears, you have heard.

MUKAMUNWA: Bitwi, what are you trying to hide?

BITWI: I am not hiding anything, but you hear what you want to hear.

MUKAMUNWA: What did you tell me?

BITWI: I told you that you are going to drink poisoned beer.

MUKAMUNWA: Where?

BITWI: At Cassilda's house, this former refugee you welcomed and consider your
friend.

MUKAMUNWA: Shall we be poisoned at Cassilda's house?

BITWI: Why not? Those people never change.

MUKAMUNWA: Go away and take your scandal from my verandah.

BITWI: Muk, do you know the tale about Namihungo? The hyena warned him,
the crocodile warned him, but despite the warning he went to see the so-called
father-in-law.

7
MUKAMUNWA: Bitwi, have you been sleeping okay lately?

BITWI: You mean am I dreaming? You'll regret not heeding my warning. And it
will be too late. Did you think she was repatriated to live peacefully with you? No
way. She was sent to take revenge on you and your children.

MUKAMUNWA: Cassilda?!

BITWI: You know you can't defend a child who isn't yours.

MUKAMUNWA: Even your own child can oppose you . . . Cassilda is . . .

BITWI: . . . like fire in a dry season. I understand she bought a large quantity of
acid.

MUKAMUNWA: Is she planning our deaths, with all that we did to welcome her?

BITWI: Some things never change. Well, I warned you. If you commit suicide, it
won't be my fault. But don't tell anybody, especially not Cassilda, because her
son Barukinamwo recently gave me a shirt.

MUKAMUNWA [Aside]: But how can I keep quiet? I can't. Let me run and warn
everyone. Oh, I don't know where my husband is! Maybe he's drinking the
poisoned beer!

BITWI [Aside]: If you want something done, ask a grown-up to do it. There goes
Mukamunwa! [Laughing] And she says I am jobless!

ACT III: BAPFUBUSA, MUBANO, and MUKAMUNWA.

MUBANO: Bapfubu, are you ready? We have to hurry, or they'll finish the
banana beer.

BAPFUBUSA: She'll put some aside for us. How are you?

MUBANO: I'm fine.

BAPFUBUSA: I can see that.

MUBANO [Laughing]: Of course you can see me, I'm standing right next to you!

BAPFUBUSA: I meant that you're looking smart.

8
MUBANO: Sure I am. My children are about to repatriate.

BAPFUBUSA: I heard fights have resumed around Bugarama.

MUBANO: Clashes are reported virtually everywhere. When I hear of them, I just
pray and ask God to protect my children with humanitarian aid agents.

MUKAMUNWA [Approaching, out of breath]: Did you hear?

BAPFUBUSA: What? [Joking] If you don't slow down, you'll have a heart attack.

MUKAMUNWA: Don't laugh. Stay there if you like, I'm running.

MUBANO: Hey, are you going crazy?

BAPFUBUSA: By the way, where are you going?

MUBANO: MUKAMUNWA, is it beer that makes you run until smoke comes out
of your mouth?

MUKAMUNWA: I told you not to laugh.

BAPFUBUSA: Do you want us to cry? [Pretending to cry] Yiiiii!

MUKAMUNWA: Don't pretend to cry. You'll really be crying later. Where is your
husband, RUGO?

BAPFUBUSA: He went to Cassilda's.

MUKAMUNWA: To Cassilda's house? He must leave!

MUBANO [Frightened]: Is the place attacked?

MUKAMUNWA: She's the one who attacked us. She put a lot of acid in the beer.
Everyone who has drunk it is now in agony.

MUBANO: Cassilda?!

BAPFUBUSA: Is my old man among the victims?

MUKAMUNWA: I don't know, but I understand it is a scandal!

9
MUBANO: Let's run!

BAPFUBUSA: My child survived clashes and is now dying of poison?! This is

horrible! I am going to kill myself! Let's go!!

ACT IV: BAPFUBUSA, MUBANO, RUGO, MUKAMUNWA.

RUGO: Why are those women running? Are they being attacked, or is it their
thirst for beer?

RUGO: Are you looking for me?

MUBANO: Ooh, calm me. Tell me my child is not among the people who are
dying at Cassilda's house.

BAPFUBUSA: She must show me my child. We must take revenge on her.

RUGO: Revenge on who?

BAPFUBUSA: Cassilda. That snake that hides among people so that she may
bite them. But she hasn't yet bitten everybody, so the rest must take revenge.

RUGO: Where are you coming from, women?

BAPFUBUSA: From home. I hope you did not drink her so-called beer.

RUGO: Which beer?

BAPFUBUSA: Cassilda's beer. I heard it is full of a poison called "sid." (SIDA)

RUGO: What are you talking about? Can beer also suffer from AIDS?

MUBANO: She didn't mention AIDS. She said "acid," which is a kind of poison.

RUGO: Who poisoned Cassilda's beer? Which way did he run?

MUKAMUNWA: You know that which destroys a home does not come from far.
She
poisoned the beer herself.

RUGO: Women, do you know what you're saying? You're talking nonsense.

10
MUBANO: You tell us the truth, since you've been there.

BAPFUBUSA: He hasn't been there, otherwise he couldn't be here!

RUGO: I'm just coming from there. I was just going to get some glasses to loan
people.

BAPFUBUSA: I can't lend my glasses to that killer. Can you imagine! We helped
her settle here while she was planning our deaths!

RUGO: Dear Bapfubu, we're lucky you're not a soldier or a magistrate.

Otherwise you would shoot people pretending it was self-defense, or sentence
people without knowing what they're accused of.

MUKAMUNWA: What about a person accused of poisoning her neighbors?

RUGO: Who is accusing her of poisoning the neighbors?

MUKAMUNWA: Witnesses.

RUGO: Where did she get the poison from?

BAPFUBUSA: Others.

RUGO: Who, exactly?

BAPFUBUSA: Those who told her to come and kill us. You know how inhuman
they are.

RUGO: What do you mean? It sounds like you're relying on rumors.

BAPFUBUSA: You think we got the information from nowhere?

RUGO: So why are you hiding your source?

BAPFUBUSA: Tell him the source, or he'll think we're liars.

MUBANO [Surprised]: I did not ask for the source either. Who is he?

MUKAMUNWA: We were almost going to spill the beer and beat Cassilda. Was
it wrong information? That silly Bitwi can easily influence someone to commit a
crime.

11
RUGO: Did this story come from Bitwi?

BAPFUBUSA: If I had known the source was Bitwi, I would have doubted it. You
can't believe him, he's a professional liar!

MUKAMUNWA: I wonder where he got the story? He doesn't even visit Cassilda.
He knows nothing about her.

RUGO: You should have asked those questions before you acted. What if you
hadn't met me? You never think twice! How can an agitator like Bitwi tell you to
go right and left and you accept blindly?

- END -

12
Unit 21 - PEPMeet
21.1. Document – Bundle of sticks

1. FX. FARM ANIMAL NOISES IN BACKGROUND. COWS. CHICKENS. ETC.

MIX WITH
2. FX. THREE TEENAGE BOYS QUARRELING.
3. SONS: (QUARRELING AD LIB) I did not!
You always do!
It's all your fault.
Well, if you weren't so stupid, it wouldn't...
Are you calling me stupid?
Just you wait!
4. FARMER: (CALLING LOUDLY) Boys... boys.... Stop that quarreling. How
can we ever get any work done on our farm with the three of
you arguing all day long?
5. SON 1: But it's all his fault.
6. SON 2: It is not! They started it!
7. SON 3: No...I'm the one who's been trying to stop it.
8. FARMER: It's not important who started it and who tried to stop it. I just
don't want to hear the three of you quarreling like this again.
Arguing is a foolish waste of time. It is not the behavior of
wise folk. Now come along... (GOING OFF) Let's get on with
our tasks.
9. MUSIC. BRIEF SCENE CHANGE THEME. CUT.
10. SONS: (QUARRELING AD LIB) I did not!
You always do!
It's all your fault.
Well, if you weren't so stupid, it wouldn't...
Are you calling me stupid? Just you wait!
11. FARMER: (LOUDLY INSISTENT) All right. That's enough. Come with
me, all three of you. (GOING OFF) I want to show you
something.
12. SON 1: (FOLLOWING) Where are we going?
13. SON 2: (FOLLOWING) I don't know. We'll have to follow him and see.
14. FARMER: (COMING IN) Come in here to my room...all of you. What do
you see on the floor in front of you?
15. SON 3: (CONFUSED) A bundle of sticks.
16. FARMER: Exactly! A bundle of simple sticks. Now I want to see if any
one of you can pick up that simple bundle of sticks and break
it in two.
17. SON 1: Easy! Any fool can break those little old sticks. Watch me.
Father, I can do it.

13
 18. FX. CLATTER OF STICKS BEING MOVED.
19. SON 1: (GRUNTING) Uh...it's not...so easy...Uhh!
20. SON 2: Don't be so stupid. Anyone can break those sticks. Come on,
let me do it. I'll show you I'm the strongest, Father...
21 FX. CLATTER OF STICKS BEING MOVED.
22. SON 2: (GRUNTING) What's...the matter..with these...stupid sticks?
They should break easily... Uhh!
23. SON 3 Just pass them over here to a really strong man. You'll see
how easy the job is. Obviously, Father, I am stronger than the
others.
24. FX. CLATTER OF STICKS BEING MOVED.
25. SON 3: (GRUNTING) What have you done to them..you two? You
put..stones in them...otherwise, I could break them
easily...Uhh!
26. FARMER: All right, my sons. Stop...all of you. Put the bundle of sticks
on the floor.
27. FX. CLATTER OF STICKS BEING DROPPED ON FLOOR.
28. FARMER: Now then, let me untie the bundle.
29. FX. CLATTER OF STICKS BEING UNTIED AND DROPPED.
30. FARMER: Here, I will give you one stick each...one for you...one for
you...and one for you. Now then, each of you, break the stick
you are holding.
31. FX. THREE SEPARATE STICK SNAPS.
32. FARMER: And so, my sons, by this test you can see that as long as you
remain united, you are strong enough to resist all enemies.
Once you quarrel and become separated, you are vulnerable
and can be destroyed.

Reference:
Aesop & Hall “Fables of our Time: Episode #10: The Bundle of Sticks,” 1995, in: De Fossard, E.,
1997, How to Write a Radio Serial Drama for Social Development: A Script Writer's Manual,
Johns Hopkins School of Public Health, Baltimore, p.36-37.

14
Unit 21 - PEPMeet

21.2. Document – Safe and sound

1. SFX...SOUND OF RADIO FADING IN PLAYING RADIO STATION JINGLE

INTO THE WEATHER AND NEWS

2. NEWS READER: The last of the Zimbian peacekeeping force arrived

back in the capital, Gondola, this morning after an
unsuccessful attempt to help keep the cease-fire in
neighbouring Ulundi between the government and
rebel Ulundi People’s Movement. During the
controversial six-month intervention, twenty Zimbian
troops were killed and more than seventy injured. Our
correspondent, Lise Dumas, was there to meet the
peacekeepers as they arrived....

3. CORRESPONDENT: It was an overcast day here at Gondola International

Airport reflecting the sombre mood of the occasion as
the last Zimbian peacekeepers disembarked from
their C-130 transport aircraft. The chief of the
Defence Force, Major General George Dubois praised
the troops for their courage in the midst of difficult
circumstances....

4. FX...RADIO FADES OUT COMPLETELY DURING CORRESPONDENT’S

REPORT, FOLLOWED BY SOUND OF TELEPHONE DIALING... AND
HEAVY SIGH. TELEPHONE IS PICKED UP AT THE OTHER END.

5. FATHER: Gustavo Giron, hello?

6. ANDRE: (UNCERTAIN SOUNDING VOICE)

Hello, FATHER? It’s me André.

7. FATHER: André (ENTHUSIASTICALLY)… hi son, we’ve been

expecting your call, we were just hearing on the radio
that all the troops are back in one piece.

8. ANDRE: Uh, yeah...we landed a few hours ago.

9. FATHER: Hang on son, let me call your mum to pick up the

other ‘phone. (OFF MIC). Malika, pick up the other
‘phone it’s André, he’s back.

10. FX: SOUND OF RECEIVER BEING PICKED UP

11. MOTHER: (WARM SOUNDING VOICE) Hello darling, it’s so
good to know you’re back safe and sound and in one

15
 piece.

12. ANDRE: Uhh Yeah, uhh… I’m coming home… (PAUSES). Uhh,
mum, dad, I've got a favour to ask (PAUSES). I have a
friend with me who was in my unit in Ulundi. I'd like to
bring him home with me….

13. MOTHER: Sure, André, that’d be fine, we’d love to meet him.
We’re really looking forward to having you home and
your sisters can’t wait to see you again.

14. ANDRE: Uhh (UNEASY SOUND IN HIS VOICE)…there's

something you should know. My friend was hurt pretty
badly in the fighting. He stepped on a land mine and
lost an arm and a leg. He has nowhere else to go, and
I want him to come and stay with us.

15. FATHER: I'm really sorry to hear that, son. Maybe we can help
him find somewhere to live.

16. ANDRE: No dad, I want him to live with us, permanently.

17. FATHER: (PAUSE) Son, you don't know what you're asking.
(PAUSES AGAIN, WITH DEEP BREATH).... Someone
with such a handicap would be a terrible burden on
us...We have our own lives to live...We can't just
change our lifestyle to accommodate someone like
that...I’m sorry my son, I think you should just come
home and forget about this guy. He'll find a way to live
on his own, but we really can’t help him.

18. FX: QUIET CLICKING SOUND OF RECEIVER BEING HUNG UP

19. FATHER: Hello? Hello? André? Are you there? (PAUSE) That’s
funny, he must have rung off.

20. MOTHER: Do you think he was okay?

21. FATHER: He did sound a bit jittery didn’t he? I expect he’s just
tired. No doubt after a good night’s sleep he’ll begin to
feel better and then we’ll soon have him home. We’d
better arrange a welcome home party. I wonder when
he’ll be back. (VOICE FADES).

22. FX: SOUND OF RADIO PLAYING, DOOR BELL RINGS TWICE

23. FATHER: Coming, hang on!

24. FX: SOUND OF DOOR BEING UNLOCKED AND OPENED

25. OFFICER Good morning sir, are you Mr. Gustavo Giron?

16
26. FATHER: Yes that’s right.

27. OFFICER: Mr. Giron, I'm Major Gonzales from the 3rd Light
Infantry Division, may I come in for a moment?

28. FATHER: (SURPRISED TONE) That’s my son’s regiment?… Is

everything all right?

29. OFFICER: I’m very sorry to have to tell you, sir, that your son has
been killed.

30. FATHER: Oh my Lord, no…no...no...no (OBVIOUSLY UPSET)

What happened?

31. OFFICER: I’m very sorry Mr. Giron, it seems your son (PAUSE),
your son committed suicide. Eyewitnesses saw him
jump from Constitution Bridge.

32. FATHER: No it can’t be…(FIGHTING BACK SOBS) Not our

André…I spoke to him just yesterday. Are you sure it
was him?

33. OFFICER: I’m very sorry Mr Giron, yes we are sure it’s your son.
(PAUSE) He had his army identification on him and we
have checked with his unit. They confirmed that he
had been badly injured after standing on a landmine
during peacekeeping operations in Ulundi and that he
only had one arm and one leg. I'm so very sorry.

By: Jon Hargreaves

17
Unit 23 – Tag team & next steps

23.1. Document – Example: Tag disaster

AMANDA WRITES: She took a last sip of her water. Today was the day she
would ask him that special question. Although they had not known each other
long, Magnus had become Juliette’s world. She remembered lazy days and
picnics in the countryside. They grew closer everyday, and she wished for the
day they would be married. She felt the emotion emanating from him across the
table, the fire of love.

STEVE WRITES: Meanwhile, Special Agent Magnus Von Strickler struggled to

remember the name of the woman he had used as an alibi. She had served her
purpose well, but was now disposable. He watched the door expectantly, his gun
hidden under the table. Suddenly, a massive explosion ripped through the
building, burying the woman under a pile of debris. “That’s one less problem to
worry about” he thought as the armed gunmen filled the room.

AMANDA WRITES: Magnus suddenly recovered from the amnesia he had

suffered during a fall saving a kitten from a tree. He knelt by the lifeless body of
his one true love, Juliette, and began to cry. “How can I live my life without you?”
he wailed. The gunmen were so moved by this display, they put down their
weapons and realised that violence was not the answer. As Magnus leant over
her body, her eyes fluttered open. “My love,” he said.

STEVE WRITES: Then another brick fell from the roof and killed her. Special
agent Von Strickler saw his chance, picked up a discarded machine gun and
killed everyone in the room. It was just like Vietnam, he thought. He made a
quick exit through the whole in the wall made by the bomb, spraying the
surrounding area with bullets as he ran. There was just enough time to diffuse
the nuclear bomb under Head Quarters, while remotely detonating the 700 other
bombs his department had planted by every enemy safe house. Soon they
would all be dead.

AMANDA WRITES: This is ridiculous. There is no way I can work with this
imbecile. My partner is a cold, violence obsessed half-wit.

STEVE WRITES: Really? Well, you’re a pathetic, sentimental fantasist, whose

writing I wouldn’t even use for toilet paper.

AMANDA WRITES: What a rude b**st*d!

STEVE WRITES: Stupid cow!

18
HANDOUTS FOR PARTICIPANTS
Radio soap operas for Peacebuilding – Part 2

1
Unit 4 – Serial Radio drama for social change

4.1. SOAP OPERA – SHORT HISTORY

Early Days

The North American press coined the term ‘soap opera’ in the 1930s - ‘soap’
because the radio programmes were sponsored by soap manufacturers, and
‘opera’ because the high drama of the programmes was said to mimic that of
musical opera.1

The first radio soap was broadcast in 1930 in the USA, and consisted of a daily,
fifteen-minute serial drama set in the home of an Irish-American widow and her
young unmarried daughter. Painted Dreams was so successful that within ten
years there were sixty-four similar daytime, commercial, radio serials broadcast
each week in the USA. But the person who really set soaps on the road to
success was William Benton, a pioneer in the field of measuring consumer
preferences, so enabling soap and other manufacturers to be sure that they were
reaching the right audience with the right message – still an essential part of the
design stage of serial drama for social change (and of advertising).

The first non-commercial, daily, radio soap opera, in the UK at least, was about a
private investigator; Dick Barton ran from 1946 to 1951. This popular programme
always ended with gripping "cliffhanging" endings, so ensuring that the audience
would listen in again the next day – and this has been one of the main features of
soaps ever since. In 1951 in an attempt to create an agricultural version of Dick
Barton the BBC began broadcasting the radio soap opera ‘The Archers’, which is
still going strong over fifty years later. The purpose of the programme was to
introduce more modern methods of farming in post-War UK, and although it has
outgrown this role it is still immensely popular with a wide variety of people.

The Sabido Method

It wasn’t until the 1970s that the true potential of using soap opera to drive social
change was exploited. Dr. Miguel Sabido, for years Vice-President of research at
Televisa in Mexico, created a telenovela, or TV soap opera, to promote family
planning. Ven con migo (‘Come With Me’), showed in dramatic terms over the
course of the nine-month series the personal benefits of planning one's family, by
focusing on the issue of family harmony.

Based on the theories of Stanford University psychologist Albert Bandura, the

Sabido Method creates positive, negative and change characters for the behaviour
and values being promoted. It also demonstrates, in dramatic terms, the
consequences of various choices. In other words the Sabido method works by

1
Some of this document was taken or adapted from the website of the Museum
of Broadcast Communications, http://www.museum.tv/archives/ by Robert C.
Allen

2
developing characters and plot lines which give the audience a range of characters -
some good, some not so good. Change is the key to the Sabido Method as the
audience is fascinated by, and follows, the characters as they evolve and alter their
attitudes and opinions. Audiences identify with the change characters, the ones who
are most realistic, and form strong bonds with them. As a result these characters
become role models for the adoption of new attitudes and behaviour. Even if at the
start of the series the change characters are strongly opposed to the attitudes and
behaviour being promoted, by the end of the series they are strongly in favour. The
audience observes their role models changing at a realistic and believable pace,
overcoming barriers that the audience themselves are likely to encounter.

The main story may be something simple like feisty girl meets unattainable boy,
while the secondary plot is the tale of the bad guys who do their (unsuccessful) best
to keep the meant-to-be lovers apart. The social change message is injected into the
tertiary plot, which has no impact on the entertainment side of the production. The
tertiary plot, in Dr. Sabido's formula, is incidental to the two main plots, although it
interacts with both of them.

Soap Opera and Common Ground

Since 1986, Common Ground has developed both radio and TV soap operas to
promote the non-adversarial resolution of conflicts. Our soaps emphasise the
elements of language, culture and/or society common to everyone. This helps
combatants and enemies find the common ground between them, which then
becomes the bridge that allows a gradual re-establishment of trust. Doing this
successfully demands an enormous amount of research, testing of characters, plot
lines and messages, and re-writing.

Common Ground has found that radio soaps are among the most effective media
interventions in terms of attracting a mass audience, and in getting across the
concepts we wish to promote. The radio soap Our Neighbours Ourselves, for
example, which has been going since 1997 in Burundi, attracts a regular audience of
over 85% of the population. And we are not the only ones; Rruga Me Pisha, a joint
production of the BBC World Service Trust and Radio Tirana in Albania, has 65% of
Albanians listening in each week; while the radio drama element of the hugely
successful Soul City social change programme in South Africa reached 12 million
listeners, or 65% of the target audience. More importantly, all these programmes
(and many other edu-tainment dramas elsewhere in the world) have had a powerful,
documented impact on their listeners’ behaviour.

Attacked by critics and intellectuals from the 1930s to the present as ‘brainless’ or
‘content free’, the soap opera is nevertheless the most effective and enduring
broadcast vehicle devised for all kinds of messages (advertising, family planning,
agricultural extension, social change and conflict transformation). It is the most
popular genre of television drama in the world, and probably no other form of radio
drama has attracted more listeners in more countries over a longer period of time.

Long may it last!

Francis Rolt
Director CG-Radio
2003

3
Unit 5 – Conflict Transformation 1

5.1. COMMON RESPONSES TO CONFLICT

1. Avoid

2. Accept

3. Deny

4. Enjoy

5. Flee

6. Ignore

7. Manage

8. Promote

9. Suppress

10. Compromise

11. Accommodate

12. Collaborate

13. Compete

14. Defend

4
Unit 5 – Conflict Transformation 1

5.2. CONFLICT PATTERN

two or more
PEOPLE

who
INTERACT
And
PERCEIVE

INCOMPATIBLE DIFFERENCES
between, or
THREATS
to

their
RESOURCES,
NEEDS,
or
VALUES

this causes them to

BEHAVE*
in

*This is the point of conflict

RESPONSE
to the INTERACTION and their
perception of it.
The conflict will then

ESCALATE or DE-ESCALATE

5
Unit 5 – Conflict Transformation 1

5.3. CONFLICT SCENARIO

Ann and Paul are colleagues and share an office; and problems often occur.
Paul spends a lot of his time on the phone and Anne finds it difficult to
concentrate. When he is out, the phone keeps ringing and Anne does not always
transmit the messages to Paul, which has sometimes caused big delays in his
project.

Paul and Anne also share the services of one secretary. Ann is the accountant
and needs to have her financial reports typed every month. She is always on
time and gives them to the secretary two days in advance. Paul is a project
manager, he is overworked and somewhat disorganised. Today is the day Ann
needs to hand over her report, and the secretary is working on it. Paul has a very
urgent proposal to give to funders by 5 pm, and wants the secretary to prioritise
his work. This is not the first time Paul has taken over without any warning. This
time Ann wants to make the point that her work is just as important as his, and
that he must plan his time better.

It is now 2:30 – what are the different ways in which Ann and Paul can handle
this conflict?

6
Unit 8 – Conflict Transformation 2

8.1. WOMAN OLD YOUNG

7
Unit 8 – Conflict Transformation 2

8.2. VASEFACES

8
Unit 8 – Conflict Transformation 2

8.3. BOXES

Thinking Outside the Box…

9
Unit 8 – Conflict Transformation 2

8.4. POSITIONS versus INTERESTS

Positions are points of view which are generally more specific and narrower than
interests. Interests usually underlie (and include) many positions, and often
represent fundamental needs. A position is frequently a statement of opinion
about how to achieve that need. A position is much more easily altered than an
interest. There are always places where parties' interests overlap in a conflict,
whereas positions may appear mutually exclusive. The more intense the dispute,
the farther apart positions tend to be from each other2.

POSITIONS
STATEMENT ABOUT OR ACTION TAKEN TO MEET YOUR NEEDS
• Your solution
• It WHAT you want

INTERESTS
YOUR NEEDS OR DESIRES
• WHY you want it

POSITIONAL BARGAINING
• Resources are limited
• Parties want to win or maximize advantages
• Future relationship is unimportant
• Interests are incompatible
• A moral principle is involved

INTEREST BASED BARGAINING

• Resources are expandable
• Winning isn’t necessarily the best outcome
• Future relationship is important
• Interests are compatible
• Parties want to establish cooperative problem solving

2
Yarn, D., 1999, Dictionary of Conflict Resolution. Jossey-Bass Inc., San Francisco

10
Unit 8 – Conflict Transformation 2
8.5. TRIANGLE OF POSITION/INTEREST

POSITION ------------------------------------------------------------------
---
Procedural

INTERESTS ---------------------------------------------------------------
---
Psychological

VALUES --------------------------------------------------------------------
---
Substantial

NEEDS ---------------------------------------------------------------------
---

11
Unit 10 – Plots and Characters

10.1. SAMPLE CHARACTER SKETCH

(Sample taken from the concept document for This Home Belongs to Us, a radio
soap prepared by Middle East Non-Violence and Democracy)

Name: Amaal

Born: 22 October 1980

Appearance: tall, pretty, dark

Lives: in Ramallah (Jalozon)

Education: Finished Secondary School and passed Tawjihi exam 3 years ago.

History: Married and moved to Beit Siera, but divorced after one year because
her husband beat her (no children) and moved back to her father’s house in
Jalozon.

Family: Family spread all over the Middle East (Gaza, Jordan, Lebanon etc.);
father, Fuad (50) works as a guard, and earns NSI 1,200 per month; mother,
Umm Jawad, doesn’t work outside but bakes cakes which Mariam (see character
#4) collects and sells for her; older brother, Jawad (24) is married to Ni’meh, they
have a baby, and live in a small room added to father’s house; another three
younger girls (Yasmine, Khaleda and Nazma) and one boy called Saleem.

Dreams: Amaal hopes to continue her studies at Altira Studio (UNWRA), and
wants to be a clothes designer, but as she’s divorced everything’s forbidden
(can’t go out without a male family member). When she was 15 she wanted to be
a model (but never told anyone).

Attitude: very positive, optimist

Problems: Amaal suffers from four things in her life; the way she married
(arranged), her divorce (the only men who want to marry her now are old), the
economic situation, and the fact that she can’t continue her education.

Likes/dislikes: Loves dance, music, singing and socialising. Hates to be treated

as ‘only’ a woman, extremism of all kinds, and people who are incapable of
saying what they want.

12
Unit 15 – Listener Learner

15.1. THE COMMUNICATION PROCESS

Listener -Learning Environment F actors

Message Channel

Feedback

Source Listener -learner

Listener -learner Source

Feedback

Channel Message

Listener -Learning Environment Factors

13
Unit 15 – Listener Learner

15.2. LISTENER-LEARNER THEORY

Listener-learner Audience-as-receiver
• Listener-learners take part • Audience is not involved
in change
• Community is a means for • Audience is an object to
change change
• Listen to the community • Listen to us
• We get information from the • We get information to the
community (interaction; community
shared/mutual action)
• Focus is on helping • Focus is on sending
Listener-learners to learn, to messages: reaching and
be empowered and enabled influencing an audience in a
to improve their cost-efficient way
communities
• Communication is seen as a • Communication is seen as
process (“We work together an event
as a team over time”) (“We ‘shoot’ them with an
information-bullet”)

14
Unit 16 – Conflict Transformation 4

16.1. PERCEPTIONS AND CONFLICT TRANSFORMATION

• Discovering interests is an exercise in discovering perceptions

• Appreciating perceptions helps us distinguish between people and problems

• We tend to attribute behavior to ‘badness’, rather than to having a different

perception of an event or action

• Understanding perceptions can help us expand the range of possible

solutions

15
Unit 16 – Conflict Transformation 4

16.2. PRINCIPLES OF PERCEPTIONS

• We use perceptions to make sense of the world. Our brains complete

missing information so that what we see fits some pattern we already
know

• Perceptions are not “right” or “wrong”, they just are

• Perceptions can limit our options for acting

• We can change our perceptions, we can learn from each other

• MY perceptions make perfect sense to ME, not necessarily to YOU

• You don’t have to AGREE with my perceptions, just RESPECT them.

• Showing respect from my perceptions is showing respect for me. That

makes it easier for me to listen to and work with you.

16
PARTICIPANTS’ WORKBOOK
Radio soap operas for Peacebuilding – Part 2

1
WORKBOOK____________________________________________
1. Introduction
1.1. Set yourself some personal goals for the training workshop.

1.2 . Read the following article from the Independent Newspaper in London.

Soap opera on Burundi radio turns force for evil into force for
good
By Declan Walsh 14 May 2003 (© The Independent)

With Burundi's civil war swirling violently around them, a young couple fall head
over heels in love. But their peoples are enemies – one is a Hutu, the other a Tutsi
– so angry relatives wreck their marriage plans.

Then the man, Mbazumutima, is captured by rebels and taken to the bush. Months
later Natalie, thinking him dead, is betrothed to another, this time a tribally correct
suitor. Her family is delighted; the weeping fiancée is heartbroken.

But on the eve of this miserable union, Mbazumutima escapes his captors and
rushes home to halt the nuptials. But will he make it to the altar on time?
Romance, hatred, tribes and tribulations, such is the stuff of Our Neighbours,
Ourselves; Burundi radio's hit soap opera. Set in the dirt tracks and banana
groves of central Africa, it has captured the imagination of a nation in the clutches
of war.

Drama, village politics and sidesplitting humour are skilfully interwoven in gripping
20-minute episodes. And behind it lies a noble aim: to hold a mirror up to
Burundi's ethnic divisions, and to shine a light on possible solutions.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 2

"The war drove Hutus and Tutsis apart," Michel-Ange Nzojibwame, the director,
says. He is seated at the microphone at a Bujumbura studio. "We want to show
what they have in common."

The show was started by unemployed actors six years ago (fear of grenade attack
had forced their theatre to be closed) and it has become a runaway success.
Twice a week at 8pm, households and roadside bars across the country hush as
battery radios are powered up for the latest soap fix. The programme makers say
85 percent of adults tune in.

Such reach is possible only with radio, Africa's most powerful medium. Yet it can
be a force for immense evil as well as good. During the 1994 Rwandan genocide,
presenters on the notorious Radio Mille Collines encouraged the slaughter with
cries of: "The graves are not yet quite full. Who is going to help us fill them
completely?" By the end, more than 500,000 Hutus and Tutsis lay dead.

Now airing episode 520, Our Neighbours, or Umubanyi Niwe Muryanga in Kirundi,
has the opposite aim. The plots are inspired by stories and gossip picked up on
street corners and barstools, and forwarded to Marie-Louise Sibazuri, a Burundian
exile living in Belgium. She skilfully mixes them with political developments to craft
the now-famous scripts.

Lena Slachmuijlder, manager with Studio Ijambo, which produces the soap, says:
"It's not moralistic, in terms of someone doing something wrong. The humour is
subtle and perceptive. It's about rumour, stereotypes and prejudice."

By now, the cast has swelled to a confusing array of 60 characters. But which
ones are Hutu or Tutsi is deliberately kept obscure. Rose Marie Twajirayezu, who
plays Mukamunwa, the village gossipmonger with a taste for beer, says: "In daily
activities, there is no separation between Hutus and Tutsis. They go to church
together, trade at the market or sit in buses. It is difficult to tell one from the other."

Sometimes the action cuts too close to the bone for the sensitive authorities. Police
once tried to arrest the director after an episode depicting corrupt police.

Later, a powerful civil servant, who recognised himself being portrayed as a

character, tried to block an episode mid-broadcast. And because the show is on
national radio, it is also subject to state censorship, although the last cut was made
a year ago.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 3

WORKBOOK
2. Where scriptwriter fits
2.1. Study the diagram of the P-Process below:1

2.2. In the space below, write down the different team roles involved in the
process of airing a radio drama.

1
de Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script
Writer's Manual, Johns Hopkins School of Public Health, Baltimore, p,3.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 4

2.3. Identify where the different roles fit on the P-Process diagram below:

3. TEAM ROLES: 4. TEAM ROLES

2. TEAM ROLES:
5. TEAM ROLES

1. TEAM ROLES

PARTICIPANTS’ WORKBOOK© HCR/SFCG 5

2.4. Study the diagram below of the script writing process:

PARTICIPANTS’ WORKBOOK© HCR/SFCG 6

2.5. Read the sample character sketch below

Name: Amal
Born: 22 Oct. 1980
Appearance: tall, pretty, dark
Lives: in Ramallah (Jalozon)
Education: finished Secondary School and passed Tawjihi 3 years ago
History: Married and moved to Beit Siera, but divorced after one year because her
husband beat her (no children) and moved back to her father’s house in Jalozon
Family: Family spread all over (Gaza, etc.); father, (50) works as a guard, and
earns NSI 1,200 per month; mother, , doesn’t work outside but bakes cakes
which Mariam (see character #4) collects and sells for her; older brother, Jawad (24)
is married to Naomi, they have a baby, and live in a small room added to father’s
house; another three younger girls ( , and ) and one boy called .
Dreams: Amal hopes to continue her studies at Altira Studio (UNWRA), and wants to be
a clothes designer, but as she’s divorced everything’s forbidden (can’t go out without a
male family member). When she was 15 she wanted to be a model (but never told
anyone)
Attitude: very positive, optimist
Problems: Amal suffers from four things in her life; the way she married (arranged), the
fact that she divorced (the only men who want to marry her now are old), the
economic situation, and the fact that she can’t continue her education
Likes/dislikes: Loves dance, music, singing and socialising. Hates to be treated as
‘only’ a woman, extremism of all kinds, and people who are incapable of saying what
they want.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 7

2.6. In the space below, create a character sketch for a character that
represents ‘peace’. This could be an animal, an imaginary being, an
adult, a child, etc.

Reference:
de Fossard, E., 1997, How to Write a Radio Serial Drama for Social Development: A Script Writer's
Manual, Johns Hopkins School of Public Health, Baltimore, p,3.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 8

WORKBOOK
3. Write for radio final
3.1. Read the following script and complete the exercises below.

Mighty Ants
Ants from an Asiatic species called Pheidologeton diversus increase their
efficiency tenfold by transporting food in groups. According to Mark Moffett, of
Harvard University, worker ants travelling in raiding parties of up to 100
individuals can carry worms and other items of food up to 5000 times their
own weight and 10 000 times their volume (National Geographic Research,
vol 4, p 386). By grouping together with other ants to take food back to the nest,
each ant can carry at least 10 times more weight than it could alone.

The time taken to transport a large object in one piece by a group, Moffett says, is also
much shorter than the time needed to tear the food into small chunks for individual ants to
move. According to Moffett, this method reduces interference from competitors for the
food.

There is a limit to the number of workers that can band together to move an object. If
there are too many, they will get in each other’s way. Moffett found that 10 was about the
optimum number in a group. The porters allow some workers to ride on top of the food,
presumably, Moffett says, to defend the ant trail and its burden should a competitor attack
the party of ants.

(Source: New Scientist, Vol.119, Issue 1627, p.216.

Reprinted with kind permission of publisher;
http://www.newscientist.com/)

The New Scientist article is written for a science magazine, to be read

through the eyes. It could be rewritten for radio in different ways, depending
on the purpose of the radio program and the audience. A radio script writer
in Pakistan re-wrote it this way to be oral-centric, for the ears of his
audience:

Imagine one person, carrying another person. You've seen it so you know it can be done.

Have you ever seen a person carrying five other people? No? You think it would be

difficult? I'm sure you're right. And I know you'll agree that it is also impossible for ten

people to carry five hundred people. But what is impossible for you and me is possible for

ants—those tiny insects that crawl around on the ground beneath your feet. Let me

PARTICIPANTS’ WORKBOOK© HCR/SFCG 9

explain. Researchers have discovered that ants can carry huge amounts of weight by

working together. New Scientist magazine reports that large groups of up to one hundred

ants can carry worms or other bits of food which weigh about five thousand times more

than the ants do. In fact, by working together, ants can carry at least ten times more

weight than they can carry on their own. But, there's something else about the way ants

work which is very interesting. There is a limit to the number of ants that can band together

on the same piece of food. Usually, there are only about ten ants working in a group—

enough to get the job done efficiently, and harmoniously.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 10

What are the differences between the article written for a science journal and
the radio script?

Written article Radio version

What do you like about the radio version of the script?

What would you say are Four Key Principles for writing for radio?

1.

2.

3.

4.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 11

3.2. The TSW Formula
Scriptwriting process and principle meet in the TSW Formula, a simple checklist to guide planning
and creativity. TSW is T—Think it first. S—Then Say it . W—Only now, finally, Write it

1. THINK . . .
Who are you saying it to?
. . . about the
• Who does the problem affect? Who else is involved? Who are the
Listener-
secondary audiences that have control or influence or which affect this
learners
situation? Who are the decision-makers involved?
Why are you saying it?
. . . about the
• What do you want the audience to do, or act on, or think? Write to
Learning
have an effect on the audience, to encourage them to ACT or DO
Purpose
something. Write to motivate the listener. To motivate is to provide the
reason for doing something.. The audience has to find the answer to
these questions: What's in it for me? How will I benefit?
What is the single most important idea to get across?
. . . about the
• What are you saying? What is the key message — the single most
Learning
important idea? What will attract attention? arouse interest? create
Content
desire? stimulate action? Write with words for the EAR (TALK
language) not words for the eye (reading language).

Think about the Opening: • What words will make them smile, sad,
• Create a picture in the Listener-learner's surprised, realise a new idea?
mind. Use the Observing the • Does the script have room to breath?
Environment checklist to gather • Use short sentences with only one idea.
pictures for the mind or wordscapes, Leave out unnecessary, complicated detail.
images of familiar settings and • Unless it is absolutely necessary to be
experiences, background noise, sound precise round out large numbers or use
effects, silence, tone, volume, pace. around ; about ; nearly ; just over ; a little
Describe space, sight, smell, feel, taste, less than etc.
etc. • Be time-sensitive when writing dramas that
• Present a problem to be solved. Ask a may be repeated later. Some details, while
question. Questions effectively create correct now, may be out of date and
mental images: Have you ever seen/ incorrect later. E.g., The World Health
wondered/ thought ...? or Remember Organisation announced last year… is
when...? or Do you ...? or If you ... better written as, In 2001 the World Health
Would you ...? or If someone told you ... Organisation announced … etc.
what would you think/ say/ do? , etc. Think about the Ending
• Connect script content with a well-known • Relate it to the opening idea. Summarise.
proverb or homily: You've heard people Tell the Listener-learner how to act—the next
say... , etc. step to take.
• Be conversational. Talk. Use a personal
comment or observation: I didn't know ...
2. SAY IT
or I was surprised to read ... , etc.
Radio is a medium for the ears. It’s oral-
Think about the Middle centric. It’s speech. After thinking about it, say
• Is the information presented in a logical it. Out loud. Talk the script. So—Say it as it
flow or sequence? would be spoken.
• How does it attract the intended
audience’s attention and create a desire? 3. WRITE IT
• Write IDEAS, not words. What ideas • Now, ONLY now, write what you said. Use
produce pictures for the mind? double spacing, 4 cm-wide margins and a
• Depict situations, people, decisions, single side of the paper.
actions etc., that model the behaviour or • Read aloud to another person. Check logical
attitude to be adopted or avoided. Can flow, timing, information accuracy and
the audience project themselves into this relevance, ambiguous phrases, unnecessary
situation? Can they see it or feel they repetition. Check that the script meets the
are there ? requirements of the producer. Revise it.

PARTICIPANTS’ WORKBOOK© HCR/SFCG 12

3.3 . Read the following article (or use the one provided by your facilitator)
and rewrite it for radio in the space provided using your Four Key
Principles.

How South Africa Avoided a Blood-bath

“Five years, then there will be a blood-bath,” an African friend told me nearly thirty years
ago. And many people said the same. “The whites will never give up power,” they said.
And yet, it happened. Why? Yugoslavia, and other countries, have torn themselves apart.
What caused the South African miracle? There are several answers to this question.

1) The leadership of Nelson Mandela

Despite imprisonment on Robben Island for over 18 years, he did not become bitter. He
was able to forgive his captors. He applied his religious beliefs to his difficult situation. His
behaviour has won him praise around the world. He has received honorary degrees from
more than 50 universities, and was awarded the Nobel Peace Prize in 1993. His peaceful
election to the role of State President was a fitting outcome to his life's work.

2) Asking for and receiving forgiveness

Many white South Africans were blinded by their culture and upbringing. They thought that
apartheid was OK, although the Dutch Reformed Church publicly apologised in 1986 for its
previous support of apartheid. They declared racism to be a bad sin. Key Christian leader
Michael Cassidy also worked for many years to bring about reconciliation. He summed up
the whole situation in one sentence in 1988: The white act of repentance, and the black act
of forgiveness, is the key to national healing and salvation.

3) A president who saw the need to change

In 1990, F.W.de Klerk, the former President, abolished many laws, such as the Mixed
Marriage Act, and the Group Areas Act. President De Klerk led the minority white
government to hand over power. This was an unusual and brave act.
His apology in August 1996 on behalf of the National Party was not his first apology.

4) The election crisis

Before the first free election in May 1994, there were big disagreements between different
groups. Chief Buthelezi could not see a way to join in the election. Without him, there
could have been disaster. International statesmen Henry Kissinger and Lord Carrington
found they could make no agreement. Then Michael Cassidy realised it would take an
African to bring peace to Africa. Kenyan Professor, Washington Okumo was a widely
respected man of peace. Okumo managed to arrange an agreement between Chief
Buthelezi, Nelson Mandela, and their parties which set the stage for peaceful elections.

A way forward for the world?

If miracles like this can happen in South Africa, after years of trouble, they can happen
anywhere.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 13

Now it's your turn!

PARTICIPANTS’ WORKBOOK © HCR/SFCG 14

PARTICIPANTS’ WORKBOOK © HCR/SFCG 15
3.4 . Improve this script

We do not regard the following script as broadcast standard. Rewrite it so

that it is broadcast standard.

There is a problem of child labour in our country. It is wrong that children are sent
out to work. If the child's help is necessary, then you parents listening to this radio
broadcast need to take action. You should give your child who is working, a share
of the income earned by his labour. If he works in the field, give him a share of the
harvest. If he works in your business, give him a share of what you sell. If you
know of any company or factory that exploits children, report it to the government
or the police. Children have the right to be educated and to be children. Let them
go to school. Let them play. You should take specific and appropriate action to
rectify this situation. Talking, playing and showing love are essential for a child's
physical, mental and emotional growth.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 16

PARTICIPANTS’ WORKBOOK © HCR/SFCG 17
3.5. Observing the Environment

• Go for a walk and observe the reality of life —collect pictures for the mind.
• Collect pictures for the mind from each of the four categories on the OBSERVING THE
ENVIRONMENT checklist..
• With your partner, write a 2-minute talk in the space provided below the checklist.
• Choose one of the following seven phrases to start the script: Today when walking down the
street..... Or Have you ever seen....? Or Imagine seeing..... Or The smell reminded me
of..... Or I heard a sound today..... Or Today I watched..... Or I touched it a few hours ago
but I can still feel it. It ….
• Include a key message/information for the topic.
• End your script with a brief statement, slogan or proverb that relates to the agreed topic.

1. SEEING PICTURES FOR THE MIND Observe, note and describe 3

elements for each of the four
sense-categories.
Colour 1.1
Texture (What does it look like?)
Size (How big is it?)
Shape 1.2
Quantity (How many? How much?)
Surroundings (The location or position)
Gesture/action 1.3
Intention/purpose (Why? What is the reason?)
Imagine the history of what you are looking at
(What has happened? What will happen?)
2. HEARING PICTURES FOR THE MIND
Foreground noise (closest and demanding 2.1
most attention)
Background noise (constant/occasional)
Unusual noise 2.2
What is the texture of the noise (What does it
sound like? Is it hard? Soft? Warm? Cold?
Sharp? Metallic? Piercing? Etc) 2.3

3. FEELING PICTURES FOR THE MIND

What does the temperature feel like? 3.1
What is the texture? (What does it feel like? Is
it smooth? Silky? Rough? Hard? Soft?)
Impression? (What emotion does it leave you 3.2
with? How do you feel about it? Frightened?
Confused? Soothed? etc)
3.3

4. SMELLING PICTURES FOR THE MIND

Character (What does it smell like? Is it good? 4.1
Bad? Pleasant? Unpleasant etc)
What memories does it evoke?
What does it taste like? (Is it sweet? Bitter?) 4.2
How strong is it? (Weak? Mild?
Overpowering?)
What is it’s texture? (What does it smell like? 4.3
Is it sharp? Dusty? Etc)

Used with kind permission of Phil Butler, Interdev. Copyright (1988) P. W. Butler

PARTICIPANTS’ WORKBOOK © HCR/SFCG 18

Write a 2 minute talk based on your checklist in the space below.

Your Script Our comments on

your work

PARTICIPANTS’ WORKBOOK © HCR/SFCG 19

Your Script Our comments on
your work

PARTICIPANTS’ WORKBOOK © HCR/SFCG 20

Your Script Our comments on
your work

PARTICIPANTS’ WORKBOOK © HCR/SFCG 21

Your Script Our comments on
your work

PARTICIPANTS’ WORKBOOK © HCR/SFCG 22

3.6. Dialogue – the building block of a radio serial drama

Read the following dialogue “Just war?” then consider the following questions below. It is
set in the context of Australia and the controversy prior to the war on Iraq in April 2003, as to
whether it was justified or not (Australia was one of the “coalition partners” in the war). At the
same time, Australia was receiving a lot of criticism for its harsh policy of keeping refugees in
detention.

AMY: Dad, what's a just war?

DAD: Not just now, sweetheart, I'm busy. Can we talk later?

AMY: But you said if I ever needed to ask you anything ...

DAD: OK. What's the question?

AMY: A just war. How can any war be just'?

DAD: Ah. Yes. Good question. How did this come up, sweetheart?

AMY: You know, Iraq and everything?

DAD: Well, first let me say that all war is ugly, brutal, violent and repressive, and history
shows us that war is a completely pointless way of trying to settle conflicts. Some
time in the future, I'm sure people will look back and wonder how humans could have
been so stupid as to go to war over anything. No one ever really wins, but a lot of
people suffer and the result never turns out quite the way anyone intended. Never.

AMY: So you're against war?

DAD: Everyone's against war. How could anyone be in favour of killing each other and
destroying each other's cities and towns? You think war is about soldiers, but
innocent civilians, even children, are always killed in wars. Of course I'm against war
... aren’t you?

AMY: So are you a pacifist?

DAD: Well, no, not exactly, although part of me would like to be. I admire pacifists, but I
think there are times when there really is no alternative to fighting.

AMY: So that’s what people mean by a just war?

DAD: I guess so. A just war is when you have to defend yourself because someone has
attacked you. Or when a friendly country is attacked and its leaders ask you to help
them defend themselves.

AMY: So if America attacks Iraq and Iraq defends itself, that wouldn't be a just war for
America, but it would be for Iraq... And if Iraq asks one of its friends to help it defend
itself against America, that would be just war for the other country, right?

DAD: Well it's not quite that simple, I'm afraid. There are such things as good guys and bad
guys, sweetheart. Saddam Hussein is a bad guy, so we don't think anyone would be
justified in defending him.

AMY: But if he doesn't attack anyone, how can invading his country be a just war?
According to you, invading another country would always be wrong.

DAD: Well, usually, but, see, every-one thinks Saddam has these really awful weapons ...

PARTICIPANTS’ WORKBOOK © HCR/SFCG 23

AMY: Worse than America's?

DAD: Not worse, no. But, well, because he's a bad guy, people think he might decide to use
those weapons against some other country some day, so America wants to invade
his country and destroy the weapons before he can use them.

AMY: Has he threatened to use them then? Who does he want to attack?

DAD: He hasn't actually threatened to use them against anyone in particular — except the
Americans of course, if they invade his country.

AMY: And us, Australia? Aren't we going to invade Iraq, too? We sent some soldiers off last
week I saw them on TV, too.

DAD: No one really knows, sweetheart. We might not actually be planning to invade. We
might just be trying to scare Saddam into giving up his weapons. We might be calling
his bluff.

AMY: But if he isn’t planning to attack anyone, wouldn’t that mean Saddam won’t use his
weapons unless he has to defend Iraq against an attack?...... So wouldn’t attacking
him be the best way of making sure he does use his weapons?

DAD: Well that seems logical, but I guess our Government must think there’s a huge risk
he will use them on, on….on someone else if we don’t get in first.

AMY: Our Life Skills teacher said the end never justifies the means. Was she wrong?

DAD: I don't know, honey, I really don't know.

AMY: By the way, what ever happened to Osama bin Laden? I thought he was supposed to
the world’s number one bad guy. Is Saddam even worse?

DAD: They’re both pretty bad. They're terrorists, see? They both place a low value on
human life.

AMY: Dad, are we still holding little children behind razor wire in those detention centres for
refugees?

DAD: We are, sweetheart.

AMY: So are we good guys or bad guys?

DAD: Good guys, definitely. No more questions now, OK?

What are the

characteristics of a
dialogue?

What was the point of

this dialogue?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 24

Why was it more
powerful to present the
issues in dialogue
format?

What do you
understand from the
script about the
characters in the
dialogue?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 25

WORKBOOK
4. Serial Radio drama for social change

4.1. In the space below, write your definition of the word ‘Edu-tainment’

PARTICIPANTS’ WORKBOOK © HCR/SFCG 26

WORKBOOK
5. Conflict Transformation Skills

5.1. The conflict circle depicts the five main elements contributing to
conflict. A few examples are listed under each element.

DATA PROBLEM
• Lack of Information
• Misinformation
• Different views

RELATIONSHIP PROBLEMS
• Emotions
• Misperceptions
• Poor communication

NEEDS AND INTERESTS

• Procedural
• Substantive
• Psychological

VALUES DIFFERENCES
• Religion
• Beliefs

STRUCTURAL PROBLEMS
• Geography
• Legal structure
• Unequal power
• Unequal control /access to resources

What examples can you think of ?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 27

 Elements Examples

Data Problem

Relationship Problems

Values Differences

Needs and Interests

Structural Problems

PARTICIPANTS’ WORKBOOK © HCR/SFCG 28

WORKBOOK
6. Concept document
6.1. Reading report... Read through the draft Concept Document and answer
the following questions. This activity should be completed individually.

What is the purpose of the Concept Document?

Explain briefly in your own words:

1. The Rationale for the project.

2. The make up of the target audience.

3. The serial radio drama intended outcomes.

4. Three key messages.

i)

ii)

iii)

5. The overview of the conflict situation.

How will the serial radio drama achieve its goals?

What does the concept document say are the causes and effects of this conflict? Do you
agree? Why or why not?

Do you think the key messages chosen are appropriate for the target audience?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 29

6.2. Values exercise: On your own, rank the characters below from the
most unpleasant character (1) to the least unpleasant (5) by writing
their names in the appropriate space. Next to each character, write a
few words to indicate the reasons for your choice.

Characters
• Dima drinks at his flat with his friends until the early hours of the morning and
creates so much noise that neighbours are kept awake
• Rano, a housewife, requires two or three drinks of alcohol each day, just to help
her handle the boredom of her life
• Otto, a salesman, is driving home very fast and dangerously after celebrating a
successful business deal
• Cleo, a high school student, doesn’t really like alcohol but drinks anyway – just
to go along with her drinking friends and to be one of the group
• Ivan goes to his local bar each afternoon after work and never really gets
drunk, but becomes so aggressive that there is a family feud that often ends in
violence

Character’s name Reasons Group Ranking

1.

2.

3.

4.

5.

Share your ideas with other members of your group. Through discussion try
and reach consensus on a group rank order. Write the group ranking in the
column provided.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 30

6.3. What motivates us? Do you know of the 10 people listed below? What
have they done with their lives? Why?

Motivated People
Mother Teresa, Mahatma Gandhi, Joseph Stalin, Tina Turner, Martin Luther King
Jr., Nelson Mandela, , Aung San Suu Kyi, Shirin Ebadi, and Bill Gates

Create a list of what you think motivates or motivated these people. Do not
worry if you are not familiar with some of the people listed.

Who is it? What motivates/motivated them

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 31

6.4. State in your own words three key messages that the serial radio drama
will communicate and rate them in order of importance. In the right
hand column indicate whether the messages are attempting to impact
the audience’s knowledge, attitude, skills, environment, values or
beliefs?

Message content Outcome

(K,A.S,E,V)
1.

2.

3.

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6.5. Describing the audience

In the space below, create an imaginary profile (in outline form) for a member
of your target audience (based on the concept document). Give the person a
name, age, socio-economic status, place of birth, imaginary family etc.

Name:

Age:

Place of birth:

Education:

Socio-economic status (e.g. occupation, wealth/means,

community status):

Family members:

Other details:

PARTICIPANTS’ WORKBOOK © HCR/SFCG 33

6.6. Pick one of the 3 key messages you’ve identified in exercise 6.4 and
turn it into a story for the target audience in the space provided below.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 34

PARTICIPANTS’ WORKBOOK © HCR/SFCG 35
WORKBOOK
7A. Researching the audience
7A.1. What stage is your society/community in: pre-conflict, overt-conflict, or post-conflict? Put a tick or a cross against
each question and total up the number of ticks at the bottom. What do you discover? Does this confirm what you
already knew?

PRE-CONFLICT OVERT CONFLICT POST CONFLICT

1. Is there increasing political tension and 1. Is there open conflict (military attacks, 1. Has there been a victory or defeat of one
economic instability? killings, atrocities)? of the conflicting parties?
2. Is there a history of armed conflict? 2. Are civil rights suppressed? 2. Is there a presence of peacekeepers?
3. Is there increasing economic and political 3. Are there signs of human rights’ abuses? 3. Is there a reduction in violence?
disparity between groups of people (e.g. 4. Is there a denial or disavowal of 4. Is there an increase in the crime rate?
along ethnic or religious lines)? international conventions/covenants? 5. Has a peace dialogue or negotiation
4. Are there excessively high population 5. Is there a continuing cycle of violence resumed?
densities? between groups? 6. Are there steps towards the re-
5. Are there high levels of unemployment? 6. Has civil society collapsed? establishment of an electoral system?
6. Is government corruption increasing? 7. Is there evidence of criminal behaviour by 7. Is there a transitional government?
7. Are the state and local authorities weak? the state? 8. Has there been an easing of censorship?
8. Are peace dialogues/negotiations failing? 8. Is there forced military conscription? 9. Is there a legal framework for free media?
9. Is there increasing polarisation of 9. Is there forced migration/displacement? 10. Has the educational system been re-
groups/communities? 10. Has the economic infrastructure been established?
10. Is there abuse/distrust of the electoral destroyed (material shortages, food, water, 11. Has there been a negotiated settlement
system? fuel, health care, electricity, batteries)? between groups in dispute?
11. Is there a monopoly of media outlets that is 11. Has the education system been destroyed? 12. Is there an expanding technical
used to push a particular line? 12. Is there high media censorship? infrastructure?
12. Are groups or individuals singled out for 13. Have dissenting (opposition) media been 13. Has trade resumed?
attacks in the media? shut down or targeted? 14. Is there evidence that tension has
13. Are hate speech and stereotyping evident in 14. Is there an absence of peace dialogue or decreased between conflicting groups?
the community and/or in the media? negotiations?
14. Is there a dispute over territory or
environmental resources?

NUMBER OF TICKS: __ NUMBER OF TICKS: __ NUMBER OF TICKS: __

PARTICIPANTS’ WORKBOOK © HCR/SFCG 36

7A.2. Now attempt to understand the factors surrounding the conflict in your community (use the other side of the sheet
if you need to).

RISK FACTORS PREDISPOSING FACTORS ENABLING FACTORS REINFORCING FACTORS

(predispose a person to a certain (enable a behaviour or a situation to (reinforce the carrying out of a
behaviour occur) behaviour or the maintenance of a
TYPE OF VIOLENCE situation)

Direct Violence Example of violence: Example of violence: Example of violence:

Examples: Intimidating, bullying,

hitting, beating, murder, stabbing, Predisposing factor/s: Enabling factor/s: Reinforcing factor/s:
shooting, raping, bombing, etc.

Message: Message: Message:

Structural Violence Example of violence: Example of violence: Example of violence:

Examples : Unequal distribution of

resources (such as health care or Predisposing factor/s: Enabling factor/s: Reinforcing factor/s:
education), exploitation of vulnerable
members of society (e.g. women &
children), sub-standard housing,
wide disparity between rich and Message: Message: Message:
poor, social injustice, corruption,
poverty and illiteracy, etc.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 37

RISK FACTORS PREDISPOSING FACTORS ENABLING FACTORS REINFORCING FACTORS
(predispose a person to a certain (enable a behaviour or a situation to (reinforce the carrying out of a
behaviour) occur) behaviour or the maintenance of a
TYPE OF VIOLENCE situation)

Cultural Violence Example of violence: Example of violence: Example of violence:

(Images and stories that justify or

glorify violence. Variables that blind Predisposing factor/s: Enabling factor/s: Reinforcing factor/s:
us to violence or seek to justify it).

Examples:
Hate speech, xenophobia, Message: Message: Message:
persecution complex,
myths and legends of war heroes,
religious justifications for war,
‘chosenness’, patriarchy,
‘orientalism’, civilisational arrogance

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7A.3. Research in the community – how to find the stories and characters for a drama.

1. Where do people meet and

exchange ideas? (Marketplace,
merchant stalls, community well or
tap, village circle etc.)?

• Why do they meet there?

• How do they engage with each
other?

2. Which personalities stand out in a

crowd?

• Is there something specific that

makes them stand out?
• Are they liked or disliked?
• Are there potential characters here
for a drama?

3. Who are the natural storytellers?

• What gives them their appeal?

• What stories do they tell?
• Who seems to listen?
• Do the stories have a point other
than entertainment? What is it?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 39

4. Who makes people laugh?

• What kind of humour do they use?

(e.g. poking fun, slap-stick, subtle,
satire)

5. What makes people laugh?

• Write down any humorous things

that you hear.
• Note people’s reactions.

6. Who are the troublemakers?

• What do you notice about their

personalities?
• What issues do they focus on?
• How do they seem to affect
others? Do people seem to listen
to them?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 40

7. Who are the peacemakers?

• What do you notice about their

personalities?
• What issues do they focus on?
• How do they seem to affect
others?
• Do people seem to listen to them?

8. Who are the gossips?

• What are their characters like?

• Why are they liked or shunned?
• What is the effect of gossip on the
community?
• Does the community thrive on
gossip?
• What kinds of things do they
gossip about?

9. Is there anyone who irritates

everyone?

• Why?
• What do you notice about their
character?
• How do people respond?
• How does the person who irritates
others respond?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 41

10. What local problems, personality
conflicts, and group attitudes can
you spot that give the community
its individuality?

• How are these problems brought

into the open?
• Do people seem to cover up
issues? Why?
• Who has strong opinions?

11. Are there cultural, social or

economic realities that create
conflicts and barriers to change?

• How do these come into light?

• How do people confront these
issues or attempt to hide them?
• What are the strong stereotypes of
different people in society?
• Who is looked up to?
• Who is looked down on?

12. What are the characters, conflicts

and plot themes that make their
folktales and traditional stories
popular?
• Who are the heroes?
• Who are the villains?
• Who do people like to identify
with?
• What kind of endings do they like?
• What kind of media do they use to

PARTICIPANTS’ WORKBOOK © HCR/SFCG 42

 get tell their stories (TV, radio,
theatre, folk stories)?

13. Can the characters, conflicts and

plot themes that create their
folktales be translated into the
timed structure of a radio drama?

• How would you do it?

14. Can you dress these old story

themes and characters in new
clothes using modern attitudes and
conflicts?

• Which stories would work best?

• How could you adapt them?
• Would this destroy the power of
the story theme or enhance it for
your audience?
• Try adapting a story and test it out
on a few people.

15. How would the community and its

members be likely to react to the
problem you want to dramatise?

• Can you describe why?

• Are people open or closed to

PARTICIPANTS’ WORKBOOK © HCR/SFCG 43

 problems?
• Do certain people in the
community shows signs of
willingness to listen to new ideas?

16. If you were presenting the content

of your programme to the
community in person, whom would
you identify as the leader with the
most local influence?

• In what way do new ideas filter

through the society?
• Is there a strong hierarchy in
society?
• Are new ideas and thinking that
come from outside the society
accepted within?

17. How is information passed locally?

• Do you see a strong “grapevine”

operating?
• Do people believe news on the
“grapevine”?
• Do people verify information that
they receive via the “grapevine”?

18. Who do people usually look to for

different kinds of advice?

• Is this true for young and older

people?

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• Are the results favourable,
predictable, or reliable?

19. Are there things people think or

believe which they cannot say out
loud?

• What?
• Why?
• How do they get around this?

20. Is there anyone who’s allowed to

break the normal social rules
without punishment (e.g. a clown)?

• How do they do this?

• How else are rules of society
broken?
• What are the results?

21. Does your audience have taboos?

• What are the main taboos?

• Why don't people talk about them?
• How then do they address taboo
subjects, or do they ignore them?
• How do the taboos constrain
people from peaceful/harmful
behaviour or contribute to conflict?
• How could some taboos be the
subject for an episode of the
drama?

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22. Is there someone who traditionally
says what no one else can?

• Who?
• How do they get their message
across?
• How and why are they accepted or
not?
• How can this be used in your
story?

23. What local idioms, slang, jokes etc.

are used - especially for taboo
subjects?

• Keep a list of these as you come

across them.

24. What are the local metaphors,

analogies and proverbs people
commonly use to illustrate the
meaning of events?

• Keep a list of these as you come

across them.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 46

25. How do they make the abstract
more concrete?

26. Are there oral traditions that could

be included in your story?

27. What traditional or other music is

popular, which might be used as
background for script narration or
as transitions for scene changes?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 47

WORKBOOK__________________________________________
7B. Field Learning Experience

7B.1. Write a description of one or more of the characters that you

encountered during the field trip.

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PARTICIPANTS’ WORKBOOK © HCR/SFCG 49
PARTICIPANTS’ WORKBOOK © HCR/SFCG 50
7B.2. Develop a storyline based on a scenario you encountered during the
field trip that could give rise to conflict.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 51

PARTICIPANTS’ WORKBOOK © HCR/SFCG 52
7B.3. How might a story development team use the scenario you have
described to develop a message?

PARTICIPANTS’ WORKBOOK © HCR/SFCG 53

PARTICIPANTS’ WORKBOOK © HCR/SFCG 54
WORKBOOK
9. Theory of Soap
9.1. Put a tick against each element as you hear it in the dramas written by
the other participants.

Elements Drama 1 Drama 2 Drama 3 Drama 4 Drama 5

Entertaining

High drama

Recognisable characters

Real time

Consecutive action

Action (in each scene)

Humour

Plots and sub-plots

Conflict

Characters close to
audience (participants)

Setting close to
audience’s reality

Cliff-hanger ending

PARTICIPANTS’ WORKBOOK © HCR/SFCG 55

WORKBOOK
10. Plots and Characters
10.1. Write the series plot summary below, based on the concept document
(use the other side of the sheet if necessary).

PARTICIPANTS’ WORKBOOK © HCR/SFCG 56

10.2. Develop character sketches for 3 or 4 characters.
Main Character Character 2 Character 3 Character 4

Name

Age

Education

Job

Time lived in
current place

Ambition

Position in
family and
relationships
with other
key
characters

Values,
attitudes and
beliefs

Attitude
towards
change/new
ideas

Appearance

PARTICIPANTS’ WORKBOOK © HCR/SFCG 57

Interests

Character
strengths

Character
weaknesses

Likes/dislikes

Fears

Habits

Speech
characteris-
tics

Commonly
used phrases

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WORKBOOK
11. Episode plot summary
11.1. In the space below write plot summaries for episodes of the serial
radio drama.

No: Episode Title:

Theme:
Episode Writer:
Synopsis:

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No: Episode Title:
Theme:
Episode Writer:
Synopsis:

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No: Episode Title:
Theme:
Episode Writer:
Synopsis:

PARTICIPANTS’ WORKBOOK © HCR/SFCG 61

No: Episode Title:
Theme:
Episode Writer:
Synopsis:

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WORKBOOK
12. Script Outline by Scenes
12.1. Develop a scene-by-scene synopsis of the serial radio drama in the
space provided; it should contain at least 4 scenes. You should
include the following:
Title:
Episode summary number:
Scene 1:
Scene 2:
Scene 3:
Scene 4:

Closing line: “........”

Emotion:

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PARTICIPANTS’ WORKBOOK © HCR/SFCG 64
WORKBOOK
14. Elements of a Good Soap
14.1. Dramatic conflict

STORY A

Zafar lives in a rural village in Central Asia where he helps his family on a collective farm. His sister
Zulfia becomes very ill after drinking infected water, so he has to travel to the main city to get the
necessary drugs so that the local hospital to treat her. His uncle has agreed to help him.

The story follows Zafar to the city and his efforts to obtain the medication.

STORY B

Zafar lives in a rural village in Central Asia where he helps his family earn a meagre living on a
collective farm. Life is hard as the farmers battle against the worst drought in 70 years. Food and
water is scarce and illness is rife. When Zafar’s 5-year old sister Zulfia becomes ill from drinking
infected water, the local nurse tells his father that Zulfia needs medicine from the city

When Zafar arrives in the city he is stopped by two aggressive policemen from a different ethnic
group. They tell him that his papers aren’t in order and threaten him with jail. Using the money he
had with him to purchase the medicines he manages to bribe the policemen and is allowed to go.
The story follows Zafar as he tries to find his uncle in a city where everyone seems to be out for
themselves. While his sister lies dying, waiting for the medicine that could cure her, Zafar faces
prejudice, self-interest and corruption and yet he finds compassion in an area that he least expects.

What’s the difference between these two stories?

__________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________

Which is more interesting and why?

__________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________

What are the points of conflict or potential conflict in this story?

__________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________

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14.2. Radio soap example: Everything is wrong with this script. Read it
through, and then try to identify all the places where the scriptwriter
has gone wrong:

WE WON
A serial radio drama

Narrator: Simon, Samantha and Sammy are friends, but they disagree about certain
things, things that will become clear as this week’s thrilling drama unfolds.
If you remember what happened in last week’s episode, then you’ll know
that last week the three friends decided that the violent conflict in their
region of the country would not change their friendship. Whatever happened
they would remain friends. This week we find out what happens. Listen on.
The theme music is by Sally Leen, Charlie What and Ned Zeppelin. The
actors are Karl Meeuw, Marijke van den Bos and Sun Chin. The show was
produced by Mohammed Ahmed. It was directed by Albert Sisulu, and
produced by Ling-ling Panda. It was recorded by the technician Frank
Farmer, at Lingala Studios in Brioude on Sunday the 25th May 2003.

Simon: Hello

Samantha: Hello

Sammy: Hello, what a nice day, not a cloud in the sky!

Samantha: A nice day for doing some burning I say… for setting fire to things.

Sammy: Make love not war!

Scene 2 (six months later)

Sammy: Now that it’s night we can spend some time enjoying ourselves, having a
drink and singing.

Simon: She doesn’t like drinking… or singing.

Sammy: What does she know… she’s bad, like all women…

Simon: Why do you think that?

Sammy: Because she burnt down those houses over there, the ones that are still
glowing in the dark…

Simon: Well, didn’t their owners deserve it?

Sammy: No, no one deserves it

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Scene 3 (next day)

Samantha: The fires have all gone out now, and in the daylight you can’t see
anything, but in the dark the flames leapt high…

Simon: Did you have fun?

Samantha: Yes! You should have been with us. It was great!

Simon: Sam, do you really think I would have had fun?

Sammy: No!

Samantha: Yes!

Sammy: Who were you talking to? Me or her?

Simon: Her, you… I don’t know…

Samantha: But it’s not just the excitement. The people in those houses deserved it.
They attacked the town hall, destroyed some crops, and they tried to beat
up my grandmother!

Simon: I bet your grandmother didn’t like that…

Sam: Of course she didn’t stupid! She got out grandfather’s gun and shot three of
them then jumped out of the window and escaped! They’re really bad people,
so they deserved to have their houses burnt down.

Sam: Did you burn down the houses of the people who beat up your grandmother?

Samantha: No, they were in hospital, and they don’t live near here.

Sam: So whose houses did you burn down, and what did they do wrong?

Sam: They’re all the same… it doesn’t make any difference…

Sammy: Make love not war! Don’t you agree Simon?

Simon: I don’t know…

Samantha: Oh you never know anything!

Simon: I do sometimes. I know that I wouldn’t like my house to be burnt down…

Samantha: But it wouldn’t be burnt down stupid, because we’re on the same side.

Sammy: We’re all on the same side really…

Samantha: No we’re not! They’re on their side, and we’re on our side.

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Sammy: Oh yes? How do you tell who’s who?

Simon: You can’t!

Samantha: Yes, you can. They all have blue eyes and they speak a different
language. And they burn down our houses…

Simon: But you burn down their houses!

Samantha: They started it!

Scene 4 (night, three years later)

Samantha: That was where we burnt down some houses - over there, where those
trees are growing now. It’s hard to imagine that there were houses and
kitchen gardens with neat rows of vegetables and chickens scratching in
the dust…there’s nothing there now.

Simon: I remember.

Sammy: It was all so long ago.

Samantha: Those people weren’t all bad, but I’m glad that we got rid of them.

Simon: I miss them…

Theme music

Narrator: Listen to the next thrilling instalment of ‘We Won’ next week at a different
time on Radio Ping-Pong.

END

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Take 10 minutes and use the space below to note down as many of the
mistakes made by the writer as you can:

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14.3. Identify the Signpost and Hook

From the extracts you will hear (from CD or verbal examples), identify the
SIGNPOST (S) (establishing the location of the scene at the beginning of the
scene) and the HOOK (the opening 30 seconds of the radio play, when the audience
have to be 'hooked', so that they don’t turn the radio off).

Extract 1

Who are the characters?

What are they doing?

What is the location?

What signposts help you identify

the above?
Are you likely to keep on listening?
(i.e. has the hook worked?)

Extract 2

Who are the characters?

What are they doing?

Where is the location?

What signposts help you identify

the above?
Are you likely to keep on listening?
(i.e. has the hook worked?)

Extract 3

Who are the characters?

What are they doing?

Where is the location?

What signposts help you identify

the above?
Are you likely to keep on listening?
(i.e. has the hook worked?)

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Extract 4

Who are the characters?

What are they doing?

Where is the location?

What signposts help you identify

the above?
Are you likely to keep on listening?
(i.e. has the hook worked?)

14.4. Write your own Signpost and Hook

Given the following details, create signposts for one of the scenes below and write
a hook for the top of the scene, which will keep the listener listening.

Scenario 1
WHO: Two men in a car
WHAT (are they doing): Smuggling
WHERE: Central Africa… Driving up to a police road block

Scenario 2
WHO: Dan (21), Maria (22)
WHAT: Adventure, on the trail of drugs-traffickers
WHERE: Desert, night-time

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14.5. Cliff-Hanger: Write a cliff-hanger for the scenario that you selected in
14.4 above.

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14.6. Sub-plots
Read the following plot treatment for the Indonesian radio soap “Menteng
Pankalang” and answer the questions that follow.

Menteng Pangkalan
A Radio Soap Opera

Menteng Pangkalan, a dense urban village (kampong) in the heart of Jakarta. City
plans to develop the area into the Menteng Business District (MBC) has stirred the
relative peace and good relationship between kampong inhabitants. Would-be
developers and their henchmen are to be seen roaming around the village.

Most of the villagers want to keep their land because it is all they have, but a few
have relinquished their land. There are several reasons for the latter, some felt they
received a good price for their land and some were intimidated or lied to. An
atmosphere of distrust is in the air.

Strategically situated and easily accessible, this small kampong has a few
homestays and rooms to let. Haji Jaim, one of the kampong-dwellers, is the owner
of one such homestay. He also wants to profit from the current situation and works
as the developer’s henchman. He buys land from other locals cheaply and then
makes a profit from it and takes commission. To get his way, Jaim uses every trick
in the book. He threatens, spreads rumours and terrorises. He is helped by Anton,
a local tough guy indebted to Jaim.

Mie Aceh, a small food kiosk in the vicinity of a motorbike taxi (ojeg) stand, is a hang
out for locals. They go there for meals or a coffee, and exchange stories and gossip.
Its owner, Mutia, has been the brunt of several sensitive rumours since the
beginning of the land sales. It is rumoured that she uses marijuana in her food, and
that her place is a meeting place for members of the Free Aceh Movement, GAM, in
Jakarta. In fact Mutia’s father, who died at the hands of the Indonesian military, was
a GAM sympathiser.

The rumours though, are meant to put her out of business, so that she will sell her
land. Ceu Entin, owner of another small food kiosk, is using these rumours for her
own benefit. She was jealous because Mutia’s food kiosk is much more popular
than hers.

One day, Audy, a dark skinned girl from Ambon, shows up at Mie Aceh, looking for a
place to stay. She is staying at her Aunt’s, but has recently got a job as a singer in a
café not far from Menteng Pangkalan. Audy ends up going to Haji Jaim’s homestay.
Her attempts to rent a room do not go smoothly and some tension ensues between
landlord and tenant. Not only does he have negative assumptions about single
women, especially those who work nights, but Haji Jaim personally is also prejudiced
against Christians. The fact that Audy is Ambonese makes it worse, and Haji Jaim is
not one to pass up a chance of making snide remarks. Nevertheless, Audy stays
there because Jaim’s wife, Hindun, asks her to stay and Hindun owns the land on
which the homestay is built. Yet for Audy, who has fled to Jakarta after the religious

PARTICIPANTS’ WORKBOOK © HCR/SFCG 73

conflicts in Ambon, these experiences only strengthen her assumptions about
Muslims.

Later Audy does make friends with Menteng Pangkalan locals. Some of them are
also migrants and treat her with respect. Jaim’s actions remind her that differences
exist even though Mutia, Najib and Elang treat her like a true friend, Audy is always
insecure.

One day Audy meets Patty, a Moslem Ambonese girl who is also a refugee from the
conflicts in Ambon. They exchange stories and realise that both have suffered the
same hardships, even though they are from different religions.

As evictions begin in Menteng Pangkalan, the atmosphere in the kampong becomes

tenser. The conflict worsens. Jaim orders Anton to start terrorising locals who fight
the evictions. People are scared of the local tough guy, but actually Anton begins to
realise how bad his actions are. Sometimes he thinks about turning over a new leaf,
but the good money sways him back into criminal activity. Besides he feels indebted
to Jaim and therefore does everything Jaim asks, including terrorising the locals.

Meanwhile, the locals do not remain silent. They begin to take legal action, but
Anton and his cohorts, with their criminal acts of violence, have the upper hand. One
day, Anton’s son becomes a victim of arson in Menteng Pangkalan. Anton, who is
responsible for the fire, is devastated. Later, what touches him most is that those
people who help him most are the same people he had terrorised. Anton’s attitude
towards Jaim changes drastically.

These circumstances also affect Audy, who basically likes Anton. She begins to
realize that her assumptions are false and joins the locals in protecting Menteng
Pangkalan.

Who is the central uniting character?

What is the main plot?

What sub plots can you identify?

What messages can you identify?

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What is the link between the plots?

How is consistency maintained?

What are the advantages of multiple plots? (see notes)

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WORKBOOK
15. Listener Learner
15.1. Learning

What did you learn from the

Learning Activity Game?

How do we learn?

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15.2. The Communication Process

Source (not sender):

Message:

Channel:

Listener-learner (not audience or receiver):

Passive vs. Active:

Feedback:

Internal factors:

External factors:

15.3. Listener-Learner Theory

What is a listener-learner? We want people to LISTEN to our radio

programmes and LEARN from them, not just
HEAR them

An _____________________ of change as
well as an _____________________ of
change.

What are the implications for writing a serial

radio drama, where the objective is conflict
transformation?

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15.4. How are the Landmarks for Learning reflected in this drama?

Landmarks for Learning Comments on the Drama

Associated Information: (What do they

do or know already that is associated
with the new information?)

Observation of what other people do

(positive, negative and change role-
models).

Are the characters (communication

sources) believable and trustworthy?
Can you identify with them?

Ability to Change: (Can they change

what they're doing now and follow the
good behaviours of positive role
models?)

Motivation to Achieve a Goal: (How

can people achieve what they hope
for?)

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15.5. Developing a Script Based on Landmarks for Learning
Here is a four-point factual summary of a conflict issue in the former Yugoslav
republic of Macedonia. Suggest how you would use “Landmarks for Learning” to
develop a listener-learning drama script for children based on these facts.

• While the Former Yugoslav Republic of Macedonia has escaped the

devastating wars experienced by its neighbors in Bosnia and Kosovo, there is
considerable interethnic mistrust and fear.
• In this nation of 2 million, the majority Macedonians (roughly 65%) live
alongside ethnic Albanians (roughly 25%) and small percentages of Turks,
Roma, Serbs, and Vlachs, in a complex maze of ethnic, cultural and religious
differences. It is one of the most ethnically mixed countries in the region, yet its
society is profoundly segregated.
• The media and education systems play a major role in encouraging these
divisions. Television and radio stations operate exclusively in Albanian or
Macedonian and present the viewpoint of their respective ethnic groups. The
public school system is highly segregated.
• Children of a single ethnicity grow up learning together and speaking one
language in the classroom. Friendships are, therefore, formed almost
exclusively within ethnic groups and rarely cross linguistic and cultural lines. As
a result, the people of Macedonia have few windows through which to see or
understand the concerns and experiences of other ethnic groups. The lack of
interethnic contact gives rise to fear, sowing the seeds of instability and of
violent conflict.

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PARTICIPANTS’ WORKBOOK © HCR/SFCG 81
WORKBOOK
17. Intended Outcomes
17.1. Read through the following Public Service Spot and answer the
questions below:

THE STREETS OF ZIMBA

1. FX: SOUND OF CARS ON A BUSY STREET FADE IN…. A WHISTLE BLOWS. SOUND
MOVES TO INSIDE OF CAR.
2. MALE DRIVER: Oh no that police officer is flagging me down… I must have been
breaking the speed limit.

3. FEMALE PASSENGER: That’s all we need, and we’re already late.

4. MALE DRIVER: Well I told you not to make me rush…(PAUSE) Ah good

morning officer, what seems to be the problem?

5. POLICE OFFICER: (GRUFFLY) Give me your license!

6. MALE DRIVER: (INNOCENTLY) Why, was I doing something wrong?

7. POLICE OFFICER: You were doing 80 in a 60 zone.

8. DRIVER: Sir, I was just following another motorist ahead of me…you

didn’t stop him.

9. POLICE OFFICER: I’m not interested in your excuses, just give me your licence.

10. FEMALE PASSENGER: Please officer it was my fault…I was forcing him to hurry, as
we’re late for a meeting. Please can you let us off just this
once?

11. POLICE OFFICER: I’m going to have to fine you… that’s going to cost you a lot of
money. Shall I write the ticket?

12. DRIVER: Chief, can’t we just talk about it?

13. POLICE OFFICER: Well, I’ll need to take away your licence and you’ll have to go to
the central police station to pay 15,000 Lingots… unless of
course we clear it up between ourselves.

14. DRIVER: Well I’m in a terrible hurry officer… please can I just pay you
2,000 Lingots right now and we’ll forget the whole thing?

15. POLICE OFFICER: Well I’m feeling generous, so I’ll let you pay me 3,000 and I’ll let
you off the rest.

16. DRIVER: Thank you so much officer… (PAUSES)…Here…..and I hope

you enjoy the rest of your day.

17. FX: CAR DRIVES OFF. FADE AND HOLD UNDER VOICES.

18. FEMALE PASSENGER: You shouldn’t have done that you know… no one will ask for

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 bribes when there are no people willing to give bribes. And
nobody will ever dare to give bribes when there are no more
people taking them. We should avoid giving bribes. Let’s
obey the traffic rules to reduce problems in our streets.
Meanwhile we should try to rid our streets of policemen who
do nothing but extort money from motorists like us.

19. DRIVER: I know you’re right my dear, but I took the easiest option.

20: MUSIC FADES UP WITH WORDS - “PEACE AND LOVE – WE CAN MAKE IT HAPPEN IF
WE WORK TOGETHER”

21: MALE ANNOUNCER: That was a public service announcement brought to you by the
Zimba Peace Council.

What was the message?

How was it or was it not effectively communicated?

Why?

What did you like?

What did you not like?

What could it have been done differently?

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17.2. Write a story line to achieve the intended outcome

Considerable formative research shows that stereotyping in a particular society is a

major problem. A design team has come up with the following position statement
and intended outcomes and has asked you to come up with a storyline for a drama
(one episode). In the space provided below, write a storyline that will achieve the
intended outcomes. The story may be set in any context you like but it must
address the issues.
(This example is adapted from the SFCG radio drama in Ukraine, Nasha Ulitsa)

POSTION STATEMENT: Stereotypes distort the truth and are detrimental to

meaningful inter-personal and inter-group relationships. One way in which
stereotypes are destructive is that people use them to justify unfair and
discriminatory actions towards other groups. Stereotypes diminish the possibility
of cooperation and other constructive forms of interaction.

INTENDED OUTCOMES:

Knowledge:
1) Stereotypes perpetuate unfounded negative feelings toward groups - such as
fear, disgust, antagonism, ridicule, and dehumanisation.
2) Stereotypes are used to unjustly foster or excuse negative actions of groups
against other groups - such as cheating, violence, discrimination, or denial of
basic human rights.

Skills:
Learn to resist the influence of the group and to cast doubt on the validity of
stereotypes.

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WORKBOOK
18. Sound

18.1. How NOT to mark up a script. Identify what is wrong with the
following examples:
1. ACT 1, SCENE 1

What’s wrong?
_________________________________________________________________

_________________________________________________________________

2. GEORGE, BERNICE, FRANSESCA, PAUL AND IRENE ARE IN A

CROWDED PUB WITH SOME OTHER FRIENDS

What’s wrong?

________________________________________________________________

________________________________________________________________

3. FRED (LOOKING ANGRILY AT FRANCESCA, HIS PALE FACE

FLUSHED) “I WILL NOT”.

What’s wrong?

_________________________________________________________________

__________________________________________________________________

4. A CAR DRAWS UP. ENGINE OFF. DOOR OPENS AND SHUTS. FEET
WALK TO THE FRONT DOOR. KEY IN THE LOCK. DOOR OPENS.
FEET WALK DOWN THE HALL TO THE KITCHEN. 'I'M HOME
DARLING'.

What’s wrong?

__________________________________________________________________

________________________________________________________________

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18.2. How to mark up a script
EXAMPLE

1. GEORGE: (FADE IN), Hey, Fred... Fred... (SOUNDS EXCITED) Where are you?
(ON MICROPHONE) Ah, there you are.

2. FRED: George, my friend... What is it? What are you so excited about?

3. GEORGE: (HAPPILY) They’ve arrived. They’re here at last.

4. FRED: Who’s here? What are you talking about George?

5. GEORGE: The street actors... We’ve been hoping they’d come. And now they’re
here Fred, and they’re about to start their show.

6. FRED: Hey that’s great! (FADING OUT) Let’s go and watch them.

7. GEORGE: You bet... (FADING OUT) I’m coming. Wait for me

8. SFX. STREET MUSICIANS. UP:05”. FADE UNDER GRADUALLY

9. GEORGE: (FADING IN) Here they are, Fred. Come over here. We can see well
from here.

10. FRED: (FADING IN) Wow... look at those costumes. I think I’d like to be a street
actor. What fun. Hey, this is great George. Look, there’s Pete
(CALLING) Pete, Pete....we’re over here.

11. SFX. MUSIC OUT.

12. PETE: (FADING IN) I was hoping to find you two here. I haven’t seen you for
such a long time. So tell me what you’re doing these days.

In this example, what do you notice about how the script is marked up?

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18.3. Turn exercise 12.1, in your workbook, into a full-blown scene for a
radio serial drama.

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WORKBOOK_______________________________________
20. Script Writing Team
20.1. How would each of the following people describe your group?

Person 1
- female
- born in the capital city
- aged 17
- educated to primary school level
- married
- looks after the children at home
- poor

Person 2
- male
- born in a tiny village
- aged 55
- educated to university level
- divorced
- works in a bank
- wealthy

Person 3
- female
- born in a town
- aged 30
- educated to university level
- separated
- works as a community organiser
- extremely religious

Person 4

- male
- born in the capital
- aged 13
- some primary education
- works in his father’s shop

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WORKBOOK
21. The PEPMeet
21.1. After reading through the script, evaluate the following 27 questions in
the light of the PEPMeet checklist:
a) What did you like?
b) What needs improving?
c) What is the script writer’s response?
d) What ideas can you brainstorm?

PEPMeet Checklist
1. Are the SFX and studio directions in the script clear and precise?

a)

b)

c)

d)

2. Does the episode start with a hook that commands the listeners’ attention?

a)

b)

c)

d)

3. Are the music and SFX the right lengths?

a)

b)

c)

d)

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4. Are SFX used naturally and do they enhance the scene?

a)

b)

c)

d)

5. Do listeners have all the visual clues they need to picture the story as they hear it?

a)

b)

c)

d)

6. Does the narrator tell too much of the story?

a)

b)

c)

d)

7. Does the story have too much description and not enough action?

a)

b)

c)

d)

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8. Is the dialogue natural (e.g. “picture language”, local analogies, local idioms etc.) and easy to listen
to?

a)

b)

c)

d)

9. Are all the dialogue lines “in character”?

a)

b)

c)

d)

10. Is the dialogue funny where it is meant to be?

a)

b)

c)

d)

11. Is the main plot entertaining?

a)

b)

c)

d)

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12. Does each scene have a point of interest?

a)

b)

c)

d)

13. Are the scenes smoothly linked together to make it easy for the listener to keep track of events and
actions?

a)

b)

c)

d)

14. Are the settings of the various scenes quickly and easily established, either with SFX or a few
descriptive words in the dialogue?

a)

b)

c)

d)

15. Do characters address one another by name, especially in the opening lines of a scene, so the
audience has no doubt as to who is speaking?

a)

b)

c)

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d)

16. Are all character entrances and exits clear?

a)

b)

c)

d)

17. Are all changes in time or in place clear?

a)

b)

c)

d)

18. Are there any unfinished elements in the story?

a)

b)

c)

d)

19. Are scenes energetic and is the story pacing dramatic?

a)

b)

c)

d)

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20. Does the story action stay focused on “what happens next”?

a)

b)

c)

d)

21. Is the story simple and logical?

a)

b)

c)

d)

22. Is the story imaginative?

a)

b)

c)

d)

23. Can the audience identify with the characters and the scenarios they are in?

a)

b)

c)

d)

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24. Are the plots and sub-plots believable?

a)

b)

c)

d)

25. Does the writer use evocative word pictures to help the audience visualise the scene and follow the
action?

a)

b)

c)

d)

26. Are the characters credible?

a)

b)

c)

d)

27. Does the episode end with a strong cliff-hanger?

a)

b)

c)

d)

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21.2. After reading through the script, evaluate the following 27 questions in
the light of the PEPMeet checklist:
a) What did you like?
b) What needs improving?
c) What is the script writer’s response?
d) What ideas can you brainstorm?

PEPMeet Checklist
1. Are the SFX and studio directions in the script clear and precise?

a)

b)

c)

d)

2. Does the episode start with a hook that commands the listeners’ attention?

a)

b)

c)

d)

3. Are the music and SFX the right lengths?

a)

b)

c)

d)

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4. Are SFX used naturally and do they enhance the scene?

a)

b)

c)

d)

5. Do listeners have all the visual clues they need to picture the story as they hear it?

a)

b)

c)

d)

6. Does the narrator tell too much of the story?

a)

b)

c)

d)

7. Does the story have too much description and not enough action?

a)

b)

c)

d)

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8. Is the dialogue natural (e.g. “picture language”, local analogies, local idioms etc.) and easy to listen to?

a)

b)

c)

d)

9. Are all the dialogue lines “in character”?

a)

b)

c)

d)

10. Is the dialogue funny where it’s meant to be?

a)

b)

c)

d)

11. Is the main plot entertaining?

a)

b)

c)

d)

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12. Does each scene have a point of interest?

a)

b)

c)

d)

13. Are the scenes smoothly linked together to make it easy for the listener to keep track of events and
actions?

a)

b)

c)

d)

14. Are the settings of the various scenes quickly and easily established, either with SFX or a few
descriptive words in the dialogue?

a)

b)

c)

d)

15. Do characters address one another by name, especially in the opening lines of a scene, so the
audience has no doubt as to who is speaking?

a)

b)

c)

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d)

16. Are all character entrances and exits clear?

a)

b)

c)

d)

17. Are all changes in time or place clear?

a)

b)

c)

d)

18. Are there any unfinished elements in the story?

a)

b)

c)

d)

19. Are scenes energetic and is the story pacing dramatic?

a)

b)

c)

d)

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20. Does the story action stay focused on “what happens next”?

a)

b)

c)

d)

21. Is the story simple and logical?

a)

b)

c)

d)

22. Is the story imaginative?

a)

b)

c)

d)

23. Can the audience identify with the characters and the scenarios they are in?

a)

b)

c)

d)

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24. Are the plots and sub-plots believable?

a)

b)

c)

d)

25. Does the writer use evocative word pictures to help the audience visualise the scene and follow the
action?

a)

b)

c)

d)

26. Are the characters credible?

a)

b)

c)

d)

27. Does the episode end with a strong cliff-hanger?

a)

b)

c)

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d)

21.3. Complete the following

Why would the PEPMeet work in

your situation? Give reasons.

Why would the PEPMeet not work

in your situation? Give reasons.

What are the advantages of a

PEPMeet in your situation?

What are the possible

disadvantages of a PEPMeet in
your situation?

What will be the advantages and

disadvantages of including other
members of staff, such as studio
technicians, administrative staff
etc., in a PEPMeet with script
writers?

Of the 27 questions in the

PEPMeet checklist, what will you
change to suit your own situation?
What will you change them to?

In what other ways could you

maintain broadcast standards,
plan new topics and ideas, and
increase creativity?

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WORKBOOK
22. Pre-testing
22.1. The five ‘CERTS’ (comprehension-entertainment-relevance-trust-style) areas are provided as a framework for the
evaluation of a radio serial drama. They could be incorporated into a questionnaire or as guideline for a focus
group discussion.

COMPREHENSION - Are the plot, the characters and the message clearly understood?

What are the names of some of the

characters?

What are the two main characters like?

What has happened in the story so far?

What do you think is likely to happen next in

the story?

What do you think might happen eventually?

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COMPREHENSION - Continued

What (if any) part of the story seemed foolish

or unbelievable to you?

Was there anything that you did not

understand?

In one episode of this story, the people of the

community will be faced with (name some
issue). How do you think these characters
(name two characters) will react to that news?

Were there words or phrases used by the

characters that you did not understand? What
were they?

Were you uncomfortable with the language

used by any of the characters? If so, what?

Was there any information in the drama that

might be useful for you or your friends? What
was it?

What main points of the information contained

in the story do you recall?

Was the amount of information given too little,

too much, or just right?

Was the story demeaning or in any way

insulting to you?

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ENTERTAINMENT- Is the drama entertaining enough to attract and hold the audience’s attention?

Which of the following words would you use to describe this story?
boring exciting interesting funny
suspenseful embarrassing entertaining realistic
offensive emotional Other (not listed above) :
Would you be likely to listen to this programme
on a regular basis? Why or why not?

Why do you think this drama is or is not an

entertaining way to learn some valuable
lessons in life?

Would you prefer to learn important matters

through a drama like this or by listening to an
expert give a talk?

Why would you recommend or not recommend

the drama to your friends and family?

If you had the choice of listening once a week

at the same time to this programme, a music
programme, or a magazine programme, which
would you choose? Why?

RELEVANCE - Does the target group perceive the message to be personally relevant?

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Do you think this programme is about people
who live in a community like yours, or is it
about total strangers?

Do you think it is more suitable for men or for

women? Why?

Do you think people a specific age would enjoy

this serial more than others? People of your
age or people of a different age?

Do any of the characters in the story remind

you of anyone you know? Who?

Did any of the characters in the story say or do

anything that you think would offend or upset
any of your friends and relatives? What was it?

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TRUST - Is the plot and are the characters credible to the listeners?

Who were the people in the story that you felt

you would trust if you knew them personally?

Who were the people you would not trust?

Was there anything discussed in the story that

you do not believe? If so, what was it?

Why do you or don’t you think that characters

in a story can be relied upon to give good
advice?

How trustworthy do you think the source of

information in the story is?

Who, if anyone, would you rather turn to for

advice?

What characters particularly attracted your

attention? Why?

How true to real life did you think story was?

Why?

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STYLE - Does the style of the writing, the language, and the use of sound effects work well?

Does the narrator (if any) tell too much of the

story?

Did you have all the clues you needed to

picture what was going on in the story as it
happened?

Was the dialogue natural and easy to listen to?

Did the characters use language that you found

easy to understand?

Does the story have too much description and

not enough action, or is it about right?

Does each scene have a point of interest?

Are scenes energetic? Does the story move

quickly enough, or too quickly?

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WORKBOOK
23. Tag team and next steps
23.1. Write a short story in tandem with a partner, alternating paragraphs
until you have six paragraphs.

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PARTICIPANTS’ WORKBOOK © HCR/SFCG 114
23.2. What problems are you likely to encounter as a writing team. List
them in the left column below. List the possible solutions in the
column on the right.
PROBLEM/ISSUE SOLUTION

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23.3. What actions need to take place to implement skills learnt for the
writing of a serial radio drama? List the actions and then put names
against the actions with a timescale.
ACTION BY WHOM BY WHEN

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WORKBOOK
24. Closing Session
Please complete all questions. Do not write your name on this form.

Questions Your response

1.

2.
1. List three things you learnt in this
course. 3.

2. How will your learning help you in your

work?

3. What plans do you have to implement your

learning in the next 12 months?

4. What topics in this course were not

relevant to you?

5. What other topics should have been

included in this course (but were left out)?

6. What did you particularly enjoy about this

course? (see note* below)

7. What did you particularly NOT enjoy about

this course? (see note* below)

8. Please finish the following sentence:

“Overall, the course was satisfactory, but the
next course could be improved by……”

9. What aspect of the course did you find

most difficult?

10. If you know others who might like to

receive information about the next course
write their name and mailing address.
11. If you require further, individual advice, training or assistance, please speak to us before
departing from this training course, or contact us later at your convenience. If you prefer, we
can contact you, however we will need to know your name……………………………….

12. Any other comments?

* Note for Questions 6 & 7: include anything you might think of. For example: handouts, training
methods, training materials, training activities, facilitators, course staff, daily schedule, length of
training course, meals, accommodation, facilities etc.
Thank you for your comments and for your participation. Please hand this form to the facilitator.

PARTICIPANTS’ WORKBOOK © HCR/SFCG 117