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A female refugee in "Antigone" at the Al-Madina Theatre in Beirut.

BEIRUT, LEBANON: A single tear rolled slowly down Adam’s cheek. Caught in the

bright glare of the stage lights hanging just feet above the Sudanese migrant worker’s

head, the tear left a thin, dark trail down his face as he spoke.

Across Hamra Street, Beirut’s most famous avenue, at the Al-Madina Theatre—located

in the heart of the bustling Lebanese city—there were more tears. They streamed

freely down Nour’s face as she stood onstage, gazing out into the packed rows of

darkened faces. The Syrian refugee’s headscarf grew damp with the tears falling from

her chin.

Adam and Nour were born thousands of miles apart. But their stories have startling

similarities. He was smuggled from Sudan over the mountains of Syria; she arrived in a

rickety bus, escaping the shelling of Damascus. Beirut has become a haven for both of

them. Adam was draped in the white salwa kameez of his native Sudan; Nour wore a

simple black gown and headscarf common to the Muslim women of her Syrian

homeland. They spoke with me about fleeing civil war in their respective countries and

wept as they spoke of the senseless violence they had left behind.

But the Sudanese migrant worker and Syrian refugee have found themselves in a new

society that considers them little more than an unpleasant reality of daily life.

Tolerated but not welcome, acknowledged as unavoidable yet still invisible, their

plights have melded into the mire of Lebanon’s own problems. Nevertheless, in Beirut,

three NGOs have decided to put Lebanon’s migrant workers and refugees on a

platform where their story has to be heard: the theatrical stage.

GLOBAL | JULY/AUGUST 2015 | JUNE 26, 2015 | 0 COMMENTS

Syria’s Most Marginalized People Share a Stage and Find Common Ground What can theatre possibly mean to migrant workers and refugees in one of the world’s

most violent regions? Ask ‘Antigone.’

BY JOSEPH ATAMAN

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Two of these organizations—Catharsis and Aperta—are using drama therapy to help

the region’s most marginalized. In May of this year, Catharis and a third NGO, the

Migrant Workers Task Force, sponsored the reprise at Beirut’s Alt City performance

space of Shebaik Lebaik, a collection of scenes performed by migrant workers that casts

a light on the discrimination, exploitation and daily lives of foreign laborers in Lebanon.

The show’s first production in December ’14 coincided with the staging of a

reinterpretation of Sophocles’ Antigone at the Al-Madina Theatre by a cast made up

entirely of female refugees from Syria. Both shows sought to give a voice to the

country’s most disregarded populations.

In Lebanon, one in five residents is a refugee from Syria, and that community is

repeatedly blamed for Lebanon’s ills, from security worries to the cleanliness of the

streets. In a country of only 4.5 million, Lebanese homes and businesses host more than

200,000 sponsored workers from overseas. Unlike the typically Western expatriate

community, these migrant workers enjoy few rights, have been banned from forming

unions and suffer widespread abuse, including physical and sexual violence. One

foreign laborer or domestic worker dies every week from unnatural causes.

In a country where the cultural scene is dominated by the French-speaking community

or imports from the West, the stage is a surprising home for migrants and refugees—

but both Shebaik Lebaik and Antigone aimed to quite literally cast these groups in a new

light.

Hal Scardino, coproducer of Antigone, aimed to achieve this by staging the show in

Beirut’s largest theatre. As he puts it, “We were hoping that people would see them not

in the way that they see Shatila”—the slum district where many refugees spend their

limited lives—“which is horrible and dirty and disgusting, but that it would be clear that

they’re normal human beings—that they are beautiful and talented and have

something to say for themselves.” (Scardino recalls his astonishment when one of the

women in the show asked what Hamra was—even though Beirut’s most famous district

lies just a few kilometers from where she lives with her husband.)

Often trapped by their families’ conservative expectations to remain within the

domestic sphere and draconian government limits on access to the few jobs available,

many of the female refugees endure stifling restrictions on their daily lives.

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In rehearsal for “Antigone,” which was presented with female refugees at Al-

Madina Theatre.

Migrant workers face similar pressures. Under the Arab “Kafala” system of

sponsorship, where workers are tied to their employers, illegal practices of confiscating

workers’ passports or denying them their weekly day off are worryingly common.

“The media sometimes portray a one-sided image of domestic workers as criminal or

lazy,” explains Omar Harfouch, director of the Migrant Worker Task Force. He believes

that Shebaik Lebaik amounts to “a very interesting opportunity for migrant workers to

say their views out loud in front of the people like the Minister of Labor, who attended

the show’s final performance.”

Unlike traditional plays, both performances centered on the actors’ own experiences

and life stories.

On an empty stage, the Syrian women of Antigone stepped forward one by one, dressed

in the headscarves common to most Muslim women in Syria, and recounted their tales

of loss, desperation and struggle. The darkness of the scene was broken only by the

striking flashes of red across their uniformly black abayas, or ankle-length cloaks.

Excerpts from the chorus of

Sophocles’s tragic drama,

chanted in unison by the cast,

framed the women’s stories. In

the soft glow of a reading lamp,

one woman narrated the cast’s

voyage from their first nervous

rehearsal through to the

cathartic release of conveying

their own stories. “With an

Arabic translation, the women

were able to explore the

relationship between the Greek

tragedy and their own lives,” Scardino says. “Once it became clear to them that there

were many, many parallels, that’s when they started to register that this was more than

just rehearsals for a traditional play.”

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For Hiba Sahli, a 23-year-old from the Yarmouk Palestinian camp in Damascus, the

Theban heroine’s story was all too real. Two of her brothers have died in the violence of

Syria’s self-destructive civil war, and one still remains unburied, a constant torment for

the young woman. “If it was anyone else’s body I wouldn’t fight the rules, but for my

brother, without a doubt, I would,” Sahli avows. “So I understand why Antigone does

what she does.”

It was toward the end of Antigone’s 10-week rehearsal period that Scardino began to

realize just how long would be needed to address the women’s traumas. “They started

to tell their stories early on,” he explains, “but much was omitted—they were incredibly

fearful of sharing certain details.” The stories of the actors in Shebaik Lebaik were no

easier to coax out. “They were so shy,” says Catharsis founder Zeina Daccache, director

of the play. “These are people who are not given the chance to voice their opinions.” But

one by one they began to open up, supporting each other as they started to undo years

of repression.

However, giving a platform to the marginalized didn’t go unopposed. “We must have

looked at 20 or 30 rehearsal spaces,” Scardino says. “Some just said no flat-out. Others

said, ‘You can rehearse here for $1,000 a day—that’s how much it costs to keep the

lights on.’ It was their way of shutting it down, of closing their eyes to the problem.” For

the migrant workers themselves, just getting to rehearsals was tricky. Under the Kafala

system, their employers often had to consent.

Both productions hoped to change such attitudes, but perhaps their greatest success

was for those onstage. Though the material facts of their lives have changed little, as

the curtain fell for both Adam and Nour, the stage has given them something in short

supply in this part of the world: hope. Both may now say, along with the narrator in

Antigone, “We defied different Creons. And we still will.”

Joseph Ataman is a freelance print journalist based in Beirut. His work centers on

religious minorities and the marginalized within Lebanese society.

Related

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AMERICAN THEATRE | The Refuge of the Stage https://www.americantheatre.org/2018/04/24/the-refuge-of-the-stage/

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Members of the new Rohingya Women's Theatre perform a scene about worker abuse for Rohingya refugees as part of their show titled "Know Your Options."

(Photo by Joanna Sherman)

Theatre with, for, and on behalf of refugees, migrants, and exiles—however those terms

are defined—seems to be springing up more these days, in the midst of a metastasizing

global refugee crisis. But it’s nothing new: Theatres and artists have been grappling with

these issues for decades, even millennia (think of Aeschylus’s The Suppliant Women, for

one).

There are new wrinkles in this broadly defined genre, though. As artists travel to global

hot spots and set up shop, usually with the help of local social-service agencies and

homegrown theatres that function as partners, the agitprop street theatre and public

spectacle that predominated in the 1970s has largely given way to lower-key forms of

drama, often incorporating local actors and non-professionals, designed to disseminate

information and serve as a vehicle for psychological healing.

Consider the New York City-based Bond Street Theatre, a major player on the scene for

more than 40 years, advocating for social justice and peaceful coexistence in such conflict

zones as Israel, Palestine, Brazil, Kosovo, and Myanmar (formerly Burma). The theatre’s

work is now centered in a squatters’ village on the fringes of Kuala Lumpur, Malaysia, a

refugee hub with hundreds of thousands fleeing from Somalia, Pakistan, Yemen,

Afghanistan, Sudan, Iran, Sri Lanka, and Myanmar.

Indeed, it was the plight of Myanmar’s Rohingya Muslims that brought Bond Street to

Myanmar nine years ago, and it’s that people’s mass exodus from the country that has led

MAY/JUNE 2018 | STAGE MIGRATIONS: IMMIGRANTS, REFUGEES, AND THE THEATRE | APRIL 24, 2018 | 0 COMMENTS

The Refuge of the Stage What roles can theatre play in the global refugee crisis? Healing, representation—and

diversion.

BY SIMI HORWITZ

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to the theatre’s most recent Malaysian project. Joanna Sherman, Bond Street’s artistic

director, said she has rarely seen people as downtrodden as the Rohingya, who were

already impoverished, uneducated legal non-persons in Myanmar even before the recent

ethnic cleansing began. They endured unspeakably perilous journeys to the refugee site:

trekking through forests at night, crossing rivers in small boats, and hiding in the backs of

pickup trucks, all thanks to the “largesse” of unscrupulous traffickers who could (and

frequently did) commit virtually any atrocity at any point, e.g., unceremoniously dropping

them off in the middle of nowhere and/or selling the women into prostitution.

To make matters worse, once they arrive at Kuala Lumpur, like many other asylum seekers

there, they are not recognized as “refugees,” a clearly defined legal status that would give

them certain rights. For byzantine reasons that Sherman doesn’t fully understand,

Malaysia is not a signatory of the 1951 UN Convention on Refugees, which leaves much of

the country’s refugee population extremely vulnerable to exploitation. The bottom line is

that without official “refugee” designation, migrants are not allowed to work, and if

they’re caught they can be held in detention centers, deported at their own expense, or

simply dropped at the border.

Sherman and her team quickly found a niche for themselves working alongside Asylum

Access Malaysia, a legal-aid organization that helps refugees navigate some of the

complex legal processes they may encounter. They saw that Asylum Access, though well

intentioned, was disseminating information in PowerPoint presentations to refugees who

spoke a host of languages, some of whom (most notably the Rohingya) couldn’t read or

write at all.

“We came along and said, we can create sketches without language that will speak to

everyone and illustrate what you’re saying—what to do, for example, if the police stop

you—and we can make the skits funny,” she said. “The women from Somalia loved it. For

the first time they understood what it was all about, and they hugged us. Same with the

Rohingya. In fact, the Rohingya women enjoyed it so much, they wanted to learn theatre;

they wanted us to teach them how to do theatre.”

With the help of translators, Bond Street—three full-time staffers and eight trainers

—encouraged the women to create short problem-solution scenes based on issues of

special concern to them. Many, for example, worried about what to do when police harass

them for bribes. But the women’s enthusiasm could not compensate for their lack of

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theatre savvy. They had never performed before; indeed, they had never even been to a

theatre. Teaching them the basics—from facing the audience to vocal projection to body

language—was the first order of business, Sherman recalled.

The local Masakini Theatre Company got into the act, opening up its studio to the women

to aid in the training. Ultimately the women, whose talents blossomed, performed their

self-created scenes in a festival dealing with violence against women. They also presented

their work in community centers that included talkbacks following a performance, where

audience members (also refugees) offered their feedback on the problems and solutions

that were dramatized. The team learned about community concerns and were able to

contact those who could help. Equally important, the women felt they had a voice—

something of value to say that someone else wants to hear.

Theatre plays yet another role. “What a lot of people don’t understand is how prevalent

boredom is in refugee centers,” said Sherman. “Refugees are depressed, lethargic, and see

no reason to get up in the morning. Creating theatre has changed that for them. It’s

healing.”

Healing would also describe the work of Okello Kelo Sam’s Hope North, a boarding

school in Uganda, which serves a refugee population of former child soldiers, orphans,

and other young survivors of Uganda’s brutal civil war. At its height, the conflict saw

thousands of child soldiers abducted and brainwashed by the Lord’s Resistance Army

(LRA) into committing blood-curdling atrocities against everyone, including their own

families. Even those who aren’t literally orphans might as well be: Their families and

communities view them as traitors and want nothing to do with them.

Okello Kelo Sam, theatre artist and former child soldier, managed to escape and founded

Hope North in 1998 as an accredited secondary school and college prep to provide an

education and future for youngsters like himself, devastated in the wake of LRA’s

destruction. Hundreds of former Hope North students are now working toward their

degrees and planning their careers.

Where does theatre come in? Sam said he uses it in his educational program as a

therapeutic tool, offering victims—ideally transformed into survivors—the opportunity to

express their feelings through performance.

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“In that way, they are able to deal with those life-threatening situations that challenged

them,” Sam said. “These reenactments give the kids a chance to explore and discuss what

happened to them, make them realize that if they committed atrocities on the one hand or

were raped on the other, it was not their fault.” He adds that there are virtually no trained

psychotherapists in Uganda and that he himself was healed through such role-playing.

These mini-dramas may serve yet another purpose when performed in the communities

from which these kids came: They can help open the door for dispossessed youngsters to

be reunified and reconciled with their villages and families, Sam explained. If nothing else,

the idea that these children are victims too is introduced.

Finally, these communal performances also become planned opportunities—destination

points—for medical personnel to come and serve the needs of both performers and

audiences.

Sam, whose work has received the support of such notables as Susan Sarandon and Mary

Louise Parker, also credits Silent Voices Uganda and Forest Whitaker’s Peace &

Development Initiative in Uganda as important organizations employing theatre as a

healing tool.

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“Syria: The Trojan Women,” featuring a cast of female Syrian refugees, directed by Omar Abusaada. (Photo by Lynn Alleva Lilley)

Another striking initiative merging psychodrama and political theatre was an acclaimed

adaptation of The Trojan Women, starring an all-female cast of Syrian refugees recounting

their stories of loss and flight during a five-year war that has left more than 500,000

people dead and millions homeless, creating the biggest refugee crisis since World War II.

Syrian director Omar Abusaada launched the project in 2013 as a series of workshops

that brought together 60 Syrian women based in Jordan. As they discussed and

improvised scenes about their experiences, they chose characters in the play with whom

they most identified, and Abusaada fashioned a work that meshed the original text with

the stories of the refugees.

Even as many of the actors faced criticism from their families—performing is not viewed

as properly modest—the creative process gave most of them a renewed sense of place

and purpose. Several women wanted to speak out openly against the Assad government,

while others were fearful of the repercussions and preferred a more veiled interpretation.

Later, with the backing of the U.K.’s Developing Artists, a charity that supports the arts in

countries in conflict, and Refuge Productions, the show toured to the U.K. in 2016, and

later to other parts of Europe; they also screened a documentary about the project at

Columbia and Georgetown universities, followed by Q&As held via live video feed.

Though none of the women has since turned professional, a number of them have

appeared in other theatrical workshops, and Abusaada said he wouldn’t be surprised if

one or two decide to try their hands on the stage in the future. And he believes they’ve all

changed, not least in their comfort level with their bodies.

“They were scared of the theatre because it’s about showing yourself onstage,” he said. “In

the end, they enjoyed it.”

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As the Syrian refugee crisis spills into Western Europe, some of its theatres have risen

to the occasion, from doing outreach at refugee sites to incorporating the refugees’

narrative into their repertoire. In Germany, an open-door policy has led to an especially

large influx of refugees and migrants—most notably Turks, Kurds, and Syrians—and a

number of theatres in Germany are attempting to grapple with this complicated new

reality, which has led to unrest both among immigrant communities and among a newly

reenergized nationalist Right.

At the forefront has been the Maxim Gorki Theater in Berlin, headed by Shermin

Langhoff, who emigrated from Turkey as a child and said, “I became a Muslim because

everyone said I was a Muslim.”

Among Langhoff’s initiatives: making sure that close to 50 percent of the theatre’s core

actors reflect ethnic, racial, and religious diversity. She recasts and readapts the classics,

with Othello played by a Turk and a German-Turkish actor playing Lopakhin in The Cherry

Orchard. She has also reshaped the repertoire, adding English supertitles (for foreign-

language plays) and bringing on board a Berlin-based Israeli director, Yael Ronen, to

Tahera Hashemi in the Exile staging of Heiner Müller’s “Hamletmachine.” (Photo by Ute Langkafel Maifoto)

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helm—indeed, to forge—The Situation, a play about the conflicts among the mixed racial

and ethnic groups in Ronen’s own Berlin neighborhood. “How often do you see an Israeli

director working with Palestinians and Syrians?” Langhoff asked rhetorically.

Ronen’s play, based on improvisation, depicts what happens when foreigners of all stripes

converge in a German language class. At once comic and serious, The Situation did well,

and Langhoff was more convinced than ever that the theatre needed to do much more on

behalf of foreign-born actors, audiences, and especially native German audiences who

needed to be introduced to the new normal.

In response to a casting notice for foreign-born actors, four additional “refugee” actors

joined the fold, and Langhoff pulled together a new company, dubbed the Exile Ensemble.

Under Ronen’s direction, the creative team and cast traveled to 10 cities throughout

Germany and met with historians, cultural pundits, and local theatre artists. Again,

through improvisation, this time based on what the actors had heard, seen and felt, on

their tour, they created Winterreise, which became a critically acclaimed piece in the same

cities the troupe had visited. The company offered post-performance Q&As, as well as

workshops that were especially successful in schools, Langhoff said.

While some migrant populations were in the audience, Langhoff stressed that her

approach is not targeted in this way. “My approach is not to bring in migrants, but rather

to create a compassionate program that evokes curiosity,” she said. “The program makes

for the audience.”

Ayham Majid Agha, a Syrian-born actor-director who now heads the Exile Ensemble,

agreed that good theatre has to be the goal. He doesn’t want to be categorized as a

migrant, exile, immigrant, or refugee, and he doesn’t much care for “political” theatre, as

he feels it frequently reduces Syrians (or Turks or Afghans) to binary stereotypes that

simply confirm the public’s preconceptions: that migrants are either terrorists or

impoverished, uneducated lost souls. In fact, he said, most are educated and have jobs.

Portraying a fuller picture relies on the full input of those being depicted.

“Often theatre artists ask you about your life and then write a text without you, and it has

nothing to do with your life,” he said. “They don’t believe you’re an artist or know anything

about theatre. They ask if Syria has theatres; then they ask if you’ve ever been in jail and

whether you arrived in Germany on a plane or boat. Then they ask, ‘What can we do for

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Syrian refugees?’ I’d much prefer we talked about artists and art.”

Christopher Hibma, producing director of the Sundance Institute Theatre Program, which

has a special interest in artists in and from the Middle East and North Africa, agreed that

many exiles don’t want to talk about genocide, or indeed politics at all—that in fact these

subjects are imposed on them by well-meaning but patronizing Western theatre folk. “I’ve

heard exiles say they are whoring themselves, dramatizing stories they don’t want to tell,

in order to get funding and be seen onstage at all,” noted Hibma.

Said Michael Balfour, professor of applied theatre at Griffith University, in Australia,

“Theatre companies need to be wary of the humanitarian complex, in which short-term

feel-good workshops are claimed as changing lives. It’s very important that the

evangelical zeal is questioned. The rush to make an intervention is strong; but genuine,

authentic projects are the result of long-term, consistent work that truly investigates,

listens, and responds to the needs of participants. I also think the more interesting

refugee performance projects draw on specific traditional forms of theatre as well as

exploring hybrid modes.”

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A workshop of Kaimera Productions’ “Living Altar” at LaGuardia Performing Arts Center featuring the New York City-based collective

Psychopomp. (Photo by Jonathan Camuzeaux)

Among those I interviewed, most are optimistic about the way theatre by, for, and about

refugees is evolving in Europe and the States.

Devika Ranjan, a graduate student at the University of Cambridge whose area of

expertise is the ethnographic and oral stories of refugees and migrants, anticipates that

theatres will become increasingly receptive to presenting the works of non-professionals

who want to tell their stories in their own way. Ranjan, who will receive a second graduate

degree in devised theatre, is part of the first cohort of fellows from Georgetown’s

Laboratory for Global Performance & Politics.

The League of Professional Theatre Women, a nonprofit advocacy organization of women

in U.S. theatre, is now inviting distaff refugees from around the world to share their

personal writings or videos for inclusion in their 2018 presentation Writings of Women

Refugees. Under the title “My Life as a Refugee,” these testimonies will be incorporated

into a performance presentation that will take place in New York on World Refugee Day,

June 20.

And then there’s Simón Adinia Hanukai, educator, theatremaker, and co-artistic director

of Kaimera Productions, who’s in the process of creating three projects for and with

refugees. Now based in Paris, Hanukai—who with his family came to the States as a young

refugee from Azerbaijan—said he was almost instinctually drawn to socially engaged,

experimental theatre that addressed the concerns of marginalized people.

In collaboration with the U.K.’s Good Chance Theatre, which has set up shop in a holding

center in Paris, the creative team erected a tent on the site to serve as a performance

space for refugee residents from Syria, Afghanistan, and North Africa, 90 percent of them

single men. The space was used for play and storytelling. “Without stories you are not

human,

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