 The application of theatre media for social change and development has been escalating around the world around since last forty years. It is more evident in the developing countries of Asia , South and Central America and Africa . This trend of using the theatre media as an communication tool for social change is a developing global trend since the 1960s. The Community Theatre, Theatre for Development, or Popular Theatre are now popular terminology and forms that differ from the traditional theatre media of society. R ecent ly these forms are using by the d evelopment organizations to educate and aware the community members on human rights issues.
Dao Loog Gai :
I would like to share my experience from South East Asia . I n Thailand I worked with the group, ` Dao Loog Gai` in Thai words stand for ` seven-guide star of sky ` . This group was formed and still been facilitated by Makhampom Theatre Group, a Thai NGO , has been assimilating social awareness and education through theatre over two decades. This group, based in local school, usually produces plays on the local issues like child prostitution, drug, HIV/AIDS in the remote hilly villages of sub-district Nongkatao, Nakhornthai district of the province Pitsanulok. Before producing the plays these young volunteers visit and collect data from communities about their problems, issues and reality. This activity develops community culture, in response to globalization at the village level of Thailand . In this context Dao Loog Gai becomes conveyer of Human Rights Education and their activity becomes a part of their school curriculum. How is happens? They come up with the findings and develop plot and productions with full of humorous and funny acts. They perform all those plays among public places of the communities and documented feedback from the audience. Then rephrase their performance according to feedback.
 From my study 2002 to 2005 my observation focus on the very point that the sustainability of Dao Loog Gai becomes possible because of leadership and remoteness, where young people have no other opportunities. Although their process does not really become an agent for social change or reformation, rather it works as a medium of capacity building and conveying information. However, the positive aspect of their activity is the development of rural young people. These activities develop capacities and values of young people in the communities and thus preserve cultures.
And there is something beyond that. About more that 50% of the girl volunteers responded, “We know what is our right now not only as child but also as girl as well. Obviously we are very much careful about that”. Because of the process and practice, most of them become aware of their reproductive health care as they don't want to get HIV infection. It is really remarkable as their area is one of the HIV/AIDS infected area in the province. Surely, this is a successful project story. But everywhere the situation is not that much positive. Any way, I would like to add some more.
 Here comes the story of a different group of children around Asia . These children don't go to school usually. More over they have to work as an adult to support their family. They are the Child workers of Asia . They are the children of Vietnam , Cambodia , Philippines , and Laos . From South East Asia . And they met new friends like them from Nepal , Sri Lanka , India , Pakistan and Bangladesh- from South Asia . A regional organization that uses to work for them arranged that nice gathering in 2003. So, during their workshop they exchanged view by the help of interpreter. But during the time of presentation they express their idea through role-play. Their body languages, mimic expressions, acting must not were as good as like the film artist or TV opera performers. But those were more than professional acting. So, in spite of language barrier after the presentation of South Asian Team, there were no questions about the theme of play from the South East Asian Participants. Because, language of role-play or theatre depicted their reality and situations through actions.
Mnobadhikar Nari Natto Parishod:
At the end I would like to share with my recent experience in Bangladesh. The five young members of Mnobadhikar Nari Natto Parishod (Women Rights Theatre Council) in Kustia , Bangladesh emphasized “It is only theatre that provided us a way out to hold our voice and idea in this society”. This team produced a 15 minutes improvisation, Amader Galpo (Our story) about the reality of women in Bangladesh in December 2005. This performance can be regarded as a good work of modern theatre treatment of contemporary time.
The facilitating organization of Mnobadhikar Nari Natto Parishod (Women Rights Theatre Council) in Kustia, Ain O Salish Kendro –popular theatre unit, would like to brand their facilitation process as “Action Theatre”. In Sri Lanka an organization formulated interactive theatre for communication. In Thailand almost organizations in development sector titled these process as “Community Theatre”. Actually, whatever theory or form their facilitators are going to apply but the action is THEATRE. And as a communication media in the field of human rights and development theatre media is not only popular but an effective tool in South Asian and South East Asian societies.
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Author Ahmed Abid is a media professional and activist of Bangladesh . Mr. Abid is graduated from Human Rights and Social Development program of Mahidol University , Thailand and currently based in Delhi to undertake a research fellowship. He is working on `theater for development`, `youth leadership`, `human rights` and `knowledge management` issues since 1980. Contact: