C.

PRETORIUS 1285755 WSOA7081A

Wits School of Arts

Drama for Life

EXAM: HOW WOULD YOU INNOVATE AND APPLY A MULTI-DISCIPLINARY, CULTURAL DRAMA THERAPY
APPROACH.

Christina Pretorius

STUDENT NO: 1285755

MASTERS IN DRAMA THERAPY

SUPERVISOR(S): WELMA DE BEER

 C.PRETORIUS 1285755 WSOA7081A

NAME : CHRISTINA PRETORIUS

STUDENT NUMBER : 1285755

COURSE CODE : WSOA 7081A - MASTERS IN DRAMA THERAPY

LECTURE : WELMA DE BEER

DUE DATE : 14 NOVEMBER 2022

TOPIC : ADDICTION TASK:

Plagiarism declaration

1. I know that plagiarism is wrong. Plagiarism is to use another’s wok and to pretend that it one’s own

2. I have used the author date convention for citation and referencing. Each significant contribution to
and quotation in this essay from the work or works of other people has been acknowledged through
citation and reference.

3. This essay is my own work.

4. I have not allowed and will not allow anyone to copy my work with the intention of passing it off as his
or her own work.

5. I have done the word processing and formatting of this assignment myself. I understand that the
correct formatting is part of the mark for this assignment and that it is therefore wrong for another
person to do it for me.

Signature_____________ Date ______14 November 2022______

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How would you innovate and apply a multi-disciplinary, cultural DT Approach that deals with addiction in SA?

Statistics on addiction around drugs in South Africa continues to be problematic in general due to the
sensitivity of protecting people’s identity who are implicated (Peltzer, et al., 2010). Thus, making it hard to
deepen studies around addiction or collecting data. According to the Central Drug Authority 15% of South
Africans are said to have a drug problem (Peltzer et al., 2010). If data has been collected it is mainly from
private facilities and a certain class status. For this reason one needs to keep in mind the eliminated statistics
that are absent when reading up on the found stats sourced from the South African Community Epidemiology
Network on Drug Use report (SACENDU) retrieved from the Department of Social Development (Johns, 2001).
In South Africa 32% from a total of 75 rehabilitation centres, in and out patients consisting of 10 936 people
are addicted to cannabis known to be the primary drug of abuse, followed by alcohol at 23% (Johns, 2001).
Furthermore, it is safe to say that drug abuse does have a direct impact on one’s mental health whether the
drug is the cause or the effect (Kaymakcalan, 1981). This is true when one reads that the South African
National Youth Risk Behaviour Survey (YRBS) found that 15% of pupils admits to have used over-the-counter
drugs to get high and that 11.5% of pupils have experimented with at least one drug such as Mandrax, Heroin,
a mix of Heroin and Cocaine or Tik (Reddy et al., 2002).

Percent of all treatment demand for illicit primary drugs in South Africa

SACENDU and SANCA [2000-2005 SACENDU: five provinces; 2006 SACENDU & SANCA: all nine provinces]

While social and public health implications of the legalisation of recreational cannabis is ongoing in South
Africa, (Mokwena, 2019) studies has found that an increased dependency and adverse effects particular to
people who have mental health pre-dispositions such as psychiatric disorders related to the diagnosis of
Schizophrenia impacts the high risk of relapse has arisen (Johns, 2001). It has also been reported that Cannabis
users experience short-lived adverse effects which include psychotic states (Johns, 2001). In addition,
literature around the structural and functioning of the brain has reported strong evidence that chronic
cannabis abuse causes cognitive impairment and damages the brain, particularly white matter, where
Cannaboid 1 receptors bound (Mandelbaum & Suzanne, 2017; Mate, 2008). While there’s a debate on the
benefits of cannabis assisting in epilepsy, anxiety and Alzheimer’s disease etc. (Mandelbaum & Suzanne, 2017)
there is evidence of its negative social effects on the community amongst the youth (Peltzer, et al., 2010). For
example the Maruleng community based in Rustenburg have reported the rise of drugs and crime amongst the
youth due to the effects of Apartheid still lingering in their lives today. The Maruleng community was
interviewed and part of a television show called Ster-Status around innovative ideas needed to curb the
violence, crime and drug use in the community amongst the youth. Historically the Maruleng community was
formed by mine workers which has lost their jobs today resulting in increased poverty, crime and drug use
amongst the youth. The youth has reported in the interview that due to being segregated into land becoming
the Maruleng community, families had to split to find work and the youth growing up in this rural community
where there is no sports facilities or entertainment has led them to find things to do leading to crime and drug
use. The elders in the community has also identified this trend in schools and outside schools where the stress
of youth not sure of their future and those who finished school struggle to find jobs turn to substance and drug
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abuse leading to crime for a means of income. The use of Cannabis as a scholar impacts ones learning and
personal development (Mate, 2008). Thus, initiatives has been created by the elders to increase resilience by
finding healthier coping mechanisms. A teacher and elder of the community started a group which consist of
girls to participate in being Drum majorettes and boys also taking part in dancing and rapping the community’s
indigenous stories. Cannabis is one of the main drugs used to numb out or pass time due to joblessness for
school leavers in the Maruleng community and adolescents who are still in school that experience emotional
problems (Johns, 2001). The need for an innovative idea to assist school leavers, the youth and adolescents in
finding better coping mechanisms to their reality is needed in order to build resilience within their selves. This
goal is required in order to redirect them from reaching negative external stimuli such as cannabis in order to
cope with life issues.

Among the staggering conundrums that baffle big cities today is the need to confront head-on the social and
emotional maladjustments of an increasing number of youth who suffer the handicaps of encapsulated
neighbourhoods. Youths skirting a survival existence of poverty are denied their intellectual, social, and mental
health potential. Such a setting cannot allow for the full development or expression of emotional stability
unless the youth are provided with better compensatory educational and social opportunities for identifying
and "acting out" than they typically receive (Miller & Hymovitz, 1943, p. 1).

The above mentioned statement is of many shared views around our youth in need of assistance in South
Africa. Innovation requires a multi-disciplinary approach that must link forces with parents, teachers, social
workers, mental health specialists and drama therapists’ if we are to unravel the enigmas of our time. This
includes taking in consideration the community’s values, customs, culture, religion and beliefs. I believe in
order to bring such innovation the following personality theories will be explored to help deepen the
understanding of the Maruleng Community’s problem around youth drug use of Cannabis.

I would take a person-centred approach to deepen the understanding around the clients’ problem related to
Cannabis use whether they are an individual or based in a group setting. According to Rogers, this approach
looks at the view of the client and the goal is to assist the client to self-actualize their wholeness which is seen
to be the development of the whole person (1986) that includes a “special relationship between a person and
his environment” (Ngubane, 1977, p. 24). A Client-centred approach holds a humanistic stance for individual
growth which is a non-directive therapeutic process working around the feeling aspect of the immediate
situation (Rogers, 1986). The youth is currently experiencing emotional problems and young adults are worried
about not getting a job which is a current and an immediate situation to look into as these situations has
caused them to turn to Cannabis to numb out the worry. Thus the reason to look at the problems they face
from their point of view as Rogers would say that behaviour is determined by the events of one’s childhood –
this being the effects of Apartheid in relation to living on a segregated land far from job opportunities and
proper recreational facilities where ones job was once being a mine worker at a time (the youths parents).
With the mine crisis in South Africa many parents lost their jobs and had to sell things on the streets or leave
their homes to go to Cities in order to get a job, the ripple effect from being a child in this time to an
adolescent holds an impact on their unpredictable future as young adults. However, Roger speaks about how
one is free to choose your behaviour and actions towards something to become more congruent with one self.
In other words the thing that exacerbates resilience in the Maruleng Community is joblessness, crime, violence
and therefore the use of Cannabis due to the poverty this community is enduring. In the same instance due to
these factors that exacerbates resilience the opposite has occurred at the same time that increases resilience
which is that a teacher in the community has started an NGO program for the youth, adolescents and young
adults to choose to partake in activities that require dance, sing and poem writing. They use their indigenous
stories and transforms it into storytelling of poems, songs and dances. This in itself I believe is therapeutic and
healthy to uphold ones culture within the community. As Gabor Mate once said, heritage can be lost by
modernisation in which this community strives to keep (Mate, 2008). One way in which the Maruleng
community is able to do this is through an initiative of an elder whom built a museum of their heritage and a
podium next door for a space to do songs and dances. Furthermore, the Maruleng community is grounded
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within the “Umuntu ngumuntu ngubantu” a human being becomes a human through other human beings
(Mkhize, 2004) concept of ‘I am because of my community’ – the collectiveness of one’s self is rooted in ‘us’
Ubuntu ‘if I do wrong we do wrong’. ‘I am human because of my people’ (Mkhize, 2004). Therefore, the
Adlerian theory may link well with the African perspective of the holistic concept where the whole person is
part of a bigger picture socially, culturally and economically (Ngubane, 1977). We cannot be understood in
parts, rather all aspects of ourselves must be understood in relations this includes family, culture, school and
work (Adler & Sullivan, 1986; Adler, 2013). As a systemic therapist it is essential to understand people within
the systems in which they live. The Maruleng community is tightly knitted within customs and rituals of
sangoma practice that requires an African perspective lens to therapy furthering the importance that people
can only be understood as integrated and complete beings within relation to their individuality and their
environment (Adler, 2013; Mkhize, 2004; Ngubane, 1977). According to Adler, personality is shaped by
relational, social and cultural factors. This holds truth when one witness that the Maruleng communities social
and economic status issues has an impact on the youth and young adults behaviour choices confirming that
the whole person is part of a bigger picture. Therefore, whether in a group or as an individual Adler’s theory
may assists with reflection in becoming aware of one’s own patterns (Hemming, 1996). The idea is that client
will change their thinking when they change their feelings and behaviour (Adler, 2013). Adlerian theory
concept is primarily motivated by social relatedness which carries the same perspective as an African lens. In
other words his concept of inferiority complex striving towards superiority is the purposeful goal directed
behaviour that emphasis on where we come from is not as important as where we are going to. In other words
as an individual within the Maruleng community one strives upwards to achieve a goal, for example to have a
job or to get out of the poverty cycle or to stop using Cannabis as a coping mechanism and find healthier
strategies to cope and reach ones goals actively. As Alfred Adler would say: “Overcoming difficulties leads to
courage, self-respect and knowing yourself” (Adler, 2013, p. 70). The Maruleng community believes in order to
overcome the increase use of Cannabis by the youth is to stand together as a community and assist in creating
activities that will keep the youth and young adults motivated and stimulated in order not to turn to Cannabis
for answers. Ubuntu is what has helped teachers and elders to create the initiative, however still struggle with
the rising use of Cannabis. The Adlerian theory shares the African perspective on social interest and
community feeling where one is aware of being part of the human community (Adler, 2013). “In African
culture, illness is not split into either physical or mental suffering. Body and mind are a unit, and the mind is
never experienced as separate from the body” (Maiello, 1999, p. 224). For example when indigenous
storytelling is practiced by the Maruleng community through song and dance and poem writing activities so
too drama therapy can mimic this method of storytelling. This can be furthered into a healing process through
the use of drama therapy techniques with permission from the elders should it correspond with the
communities cultural dynamics and also in relation to Sangomas blessing. Both Adlerian and African
perspective will contribute to the welfare of others and striving for the betterment of humanity which will be
in line with the vision of the elder’s goals being connected to their human community. “Where illness or
madness have come, the Sangoma knows that some power of the universe is disrupted and must be balanced
or restored to harmony again” (Mutwa, 1996, p. 27). This will be an example of a multi-disciplinary stance in
incorporating all contributing systems. This initiative to collaborate drama therapy with their indigenous
storytelling can be done through the Sesame Approach (Jones, 1996). The Sesame approach is in “action
people that move and dance in a circle to music made in any form where a story is told (in this case their
indigenous stories); people take on parts, enact the story, becoming absorbed in a scene, they improvise like
actors in rehearsal, using their voices; they sing, chant and call out words” (Pearson, 1996, p. 1). The content
varies but the basic form of a Sesame session remains the same. Sesame approach is closely embedded within
the Jungian psychology emphasising the healing work of symbol (Pearson, 1996). A symbol is something that
emerges from the unconscious and/or collective unconscious of the mind and resonates there (Jung et al.,
2014). The Sesame approach does not get interpreted but assists people in finding for themselves in how they
can express underlying feelings and attitudes through the healing power of imagination complemented by
Laban’s art of movement (Pearson, 1996). This combination within the Sesame approach allows for “speaking
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in verbal and imagistic terms of the psyche while the other part is about body language and the language of
physical movement” (Pearson, 1996, p. 2), however not a ‘talking cure’ (Maiello, 1999). In connection with
these theories, I believe using the Sesame approach in conjunction with the Maruleng communities indigenous
storytelling through dance and song as a method in drama therapy will create an in-depth healing process as
they would be using their own existing cultural stories for the process of healing; The in-depth knowledge that
the Maruleng community has around their heritage of indigenous storytelling serves as an entry point for
possible drama therapeutic processes. These indigenous stories already hold certain meanings for them and
using it as a healing process can make their journey meaningful and personal. As Jung once reported the
healing process of a young girls feeling of alienation by allowing her experience of a given ‘recognition, a
confirmation of the pattern of the stories which had been supressed and not fed to her for so long a time’
(Pearson, 1996, p. 4). In addition, “singing, dancing, rituals, and ceremonies creates opportunities to act out
and represent what is happening” (Maiello, 1999, p. 224) that can be represented in drama therapy as well.
“As health and community are interdependent, for the African concepts of health are far more social than
biological” (Lambo, 1964, p. 446). However, one needs to be sensitive to this innovative idea whether the
elders, sangomas of the community, teachers and parents will buy into this idea. One cannot assume that
drama therapy is acceptable by all.

In addition, does therapy exist within the Maruleng community as a linguistic, if so, how do one go about it?
One way to find out is the knowledge around knowing specifically that this community both welcomes their
spirituality of a combination of Sangoma and Christianity as part of their heritage. This is not to say that drama
therapy is derived from Christianity but rather an indicator that Christianity is from a western perspective and
this might be an indication that the Maruleng community might be open to drama therapy first seen as a
western perspective as the word therapy in itself is deeply imbedded in the western understanding of healing
(Mkhize, 2004). Once drama therapy is explained that it is fluid enough to allow processes to be experienced
within an African perspective and not tied to western perspective this idea of incorporating drama therapy to
their indigenous storytelling through the sesame approach in curbing the use of cannabis amongst the youth
might be an innovative ultimate solution. Furthermore, the threat to being exposed as a cannabis user stems
as a concern to the youth, adolescents and young adults thus the reason that the Sesame approach can be one
of the best tools to use as a drama therapy technique. Therefore, a Multi-Cultural Therapy approach is
required for this community as it takes in consideration community specific linguistic skills, matches clients to
the therapist authentically, find appropriate strategies and goals with modifications and adaptation to the
needs of clients, and continuously consult other cultural sensitive professionals. The multicultural perspective
is used as an umbrella to provide a service to the Maruleng community in line with the Roger’s stance of being
person-centred and the Adlerian perspective of how relational, social and cultural factors shape personality in
a broader way of a community. Thus should, I work with an individual or a group these perspectives are well
contracted into the therapeutic space to disclose therapist stance of work in order to ensure clients best
interest at heart for their healing process. As a therapist working through a multicultural stance one should
understand that culture refers to ethnic and racial heritage one of which the Maruleng community is
historically embedded in, age, gender, religion, spirituality, sexual orientation, physical and mental ability and
socio-economic status. As a therapist one should hold sensitivity and awareness to cultural differences: for
example being a white female can bring a different dynamic to therapy space of a black African community;
recognise diversity issues – ethical issues such as under aged Cannabis users and disclosing of their identity for
further help; recognise the influences of your own cultural conditioning; for example being an Afrikaner in
South Africa positions me and my thought process in a certain way as well as having assimilation of other
cultures similar to the Maruleng community. Self-examination and becoming aware how clients from diverse
cultures can perceive me and to have the ability to check for bias and views and assumptions around therapy
and whether they are appropriate for culturally diverse clients. A multicultural perspective assists with the
reflection of oneself as a therapist (Yalom, 2008) in relation to the needs of the Maruleng community which
then allows one to attempt in putting together a program of a drama therapeutic process considering that all
parties and system has agreed to drama therapy and the innovative idea to incorporate a sesame approach
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within their indigenous storytelling and dance. This will require transferring of knowledge and collaboration
with the elders and sangomas of sharing their songs and meanings to it. Once this collaboration is done in
defining which stories will best suite a Sesame approach the session plans can start. However, an overall
assessment is still required which I would approach from a field theory as I will not only deal with individuals
but the community as well, such as groups of youth, groups of young adults who left school and adolescents’.
This approach will remain multicultural known as the six propositions (Sue, Arredondo & McDavis, 1992) and
the Multi-model assessment tool from Lazarus, 1971.

In fact due to South Africa’s history of suppression within the Apartheid era one cannot ‘not’ take in
consideration the socio-cultural dynamic of the client’s worldview and background.

Proposition 1 – Incorporate Socio-Cultural considerations (Sue, Arredondo & McDavis, 1992) using the Multi-
model assessment tool from Lazarus 1971; conceptualisation and treatment. In other words to gain insight to
ensure clients understand concepts around drama therapy and linguistic terms existent and non-existent in
their cultures languages. For example if a client shares that their heart is paining – to discover that it can mean
that they are actually feeling of a low mood is essential. Thus, setting up rapport and contract between clients
and therapist is vital important to find a common understanding and ground ensuring compatibility between
therapist and clients’. The Maruleng community is embedded in ritual and storytelling which calls for the
utmost service towards a client centred approach. An assessment around cultural and social population of the
Maruleng community is essential to understand their knowledge, customs, beliefs and values. One way in
which this can be done is thanks to the Museum built by the elder and also working closely with the elders in
asking questions around their needs, expectations, attitudes and requirements, which becomes a collaborative
relationship of respect and defining problems and solutions around the use of Cannabis by youth and young
adults. The Maruleng community was colonised by the white Afrikaner in which a Mr Kruger killed their king…
this piece of history is extremely vital to be sensitive around how one would conduct oneself as a white
Afrikaans therapist within the Maruleng communities space; being female; The communities social economic
status still experiences hardship due to Apartheid which may bring an atmosphere of frustration and anger.
Through asking questions these topics may also be discussed to find a common ground should it exist as an
opportunity for me to take part in this innovative program. If the community does not feel comfortable with
me being part of the therapy – due to for example feel like I will enhance a language barrier, I should freely
give over to someone whom they will feel comfortable with carrying on with the innovative drama therapeutic
program. To conclude in the contracting stories used of the Maruleng community can be agreed to only be
used exclusive for their community as an oath in therapy should elders feel the need to take this stance.

Multimodal Assessment (Sue, Arredondo & McDavis, 1992)

 Behaviour: For example if I have a client that does not look me in the eyes, this insight indicates a
cultural dynamic within the context of South Africa as a practice of respect within the African cultures
where this behaviour is found to be the opposite within the western perspective. The same concept is
practised by the Maruleng community where they practise no eye-contact as being respectful towards
not looking at your elders or seniors eyes when being instructed. My awareness of the cultural
dynamics at play in South Africa will allow me to be able to be sensitive and be able to differentiate
the two world perspectives. Insight and knowledge is required towards a culture specific community as
not many clients’ of such a background will actually say to you as the therapist the reason for not
making eye contact as that in itself is also seen as being disrespectful through explaining reasons.

 Affect: Due to the nature of Drama Therapy – the use of embodiment would show me where the client
is at and to what extend a socio-cultural influence is at play in their lives. For example using a rhythmic
movement known as ‘Stomp Clap-Clap’ and exploring the beat through different emotions can reveal
religious and cultural backgrounds. For example the Maruleng community already partakes in ritual
dancing which may lead clients to want to change a dance activity – as therapist the Sesame approach
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would allow this as the goal here would be to incorporate their indigenous stories in dance and
movement for healing and see how this process impacts them.

 Sensations: Due to the above examples findings one needs to be aware of the sensations expressed
and experienced. For example a client may experience ancestral communication through feeling goose
bumps and this sensation could mean communication is about to occur. Therefore, one must be
sensitive and knowledgeable towards being able to identify and recognise such an occurrence for
instance. This experience from the client would traditionally be seen in the western perspective as
possessed or having a mental illness which is not the case within the Maruleng community.

 Imagery: This can only be explored within the therapeutic setting and discovered in the session to how
clients may come across and perceived. Should there be a socio-cultural clash one needs to collectively
find and discover ways in which clients can processes this creatively and healthily. For example a
young adult using cannabis might be perceived as having anger issues thus the reason for him/her
using cannabis as everyone has told them that they have a hot temperament meanwhile the client
might suffer from anxiety and not aware of it. Should this be the case a focused session towards
experiencing anxiety can become a process within the sessions how to cope with anxiety.

 Cognition: This ties in with the above findings. As Adler shared if one becomes aware of one’s own
patterns then clients will change their thinking when they change their feelings and behaviour towards
having anger issues as an example. The shift can therefore be made within the person – includes the
mind and body as one (Adler, 2013).

 Interpersonal relationships: One if the insights as a therapist are that all of the youth that are still in
school deals with the NGO elder who have started the Drum Majorettes and extra-curricular activity as
a teacher in the school. This might become complicated should she want to be involved in the therapy
sessions as a conflict of interest occurs in splitting school from therapy. The disciplinary dynamic
clashes with the therapeutic side. The only way this balance can be achieved is adding a drama
therapist within the school curriculum so that the youth do not feel so exposed inside and outside of
school. This way therapy may be kept separate from school and the extra-curricular activities. It is
essential that these interpersonal relationships do not get blurred for the safety of the youth.

 Drugs and Health care: In this case therapy is around the concern of cannabis misuse which impacts the
youth and young adults’ health. In certain cultures cannabis is seen as medicinal or part of ritual.
However, the Maruleng community does not share the same background to cannabis. Cannabis is seen
as harming their youth and leading them to criminal activities due to the stress of not finding jobs.

Proposition 2 – Identity is embedded in multiple context (Sue, Arredondo & McDavis, 1992)

South Africa is rich in various ethnicities, cultures, 11+languages and religions. Thus, it is important to establish
a contract and a conceptual mutual understanding around certain words. This can be done through contract
work in establishing around what the client’s needs and wants is. For example what does illness look like for
the Maruleng community? Within the African perspective health and community is interdependent being far
more social than biological. Illness is not the absence of health but rather a state of fragmentation and
disintegration of the whole in which the ancestors and spirits have a role in the healing process. As a drama
therapist finding a general feel of my client’s identity would start off with contract work and triangulation
through assessments further in therapy.

Proposition 3 – Cultural Identity influences attitudes (Sue, Arredondo & McDavis, 1992)

In South Africa I am aware that I am part of a minority group of whiteness and that I will be participating in the
majority population of our people that are identified as black which means most may have a background of
experienced oppression from Apartheid or the system oppression that still lingers from the Apartheid regime
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once run by a white minority. This might put me in a predisposition as a drama therapist. As attitudes towards
me could be distrustful or seen as not part of being able to understand their African culture whereas I can also
hold the attitude of feeling and being inadequate which might not be the case. Once again in the contract this
relationship between the clients’ and the therapist may be established and can be explored through trial in
three sessions.

Proposition 4 – Cultural strategies enhance therapy (Sue, Arredondo & McDavis, 1992)

This insight links with the abovementioned context. Strategies involved culturally will take into account my
background as Christian and the Maruleng’s culture. The commonality is that both is religious and I as the
therapist will engage from that common ground.

Proposition 5 – Therapies can advocate on many levels (Sue, Arredondo & McDavis, 1992)

Within the drama therapy practice, one needs to take up many roles at a time. The MCT approach does the
same. For instance should a client partake in the extra – curricular activities and have the Elder as a teacher in
their class, I will not involve this same elder within the therapy sessions even if she has assisted me with
becoming knowledgeable of their indigenous stories and songs. The youth can also partake in sharing their
communities’ stories which can eliminate the elder’s involvement too much within the sessions. This can be a
collective advocating between myself and the other elders.

Proposition 6 – Understand Societal realities (Sue, Arredondo & McDavis, 1992)

This section I must be honest is a work in progress as a drama therapist in the making. As one can only realise
the understanding of societal realities once the experience occurs. For example the concept ‘co-dependency’
has two viewpoints, one that pathologise and the other that forms part of a cultural dynamic. This teaches me
as a therapist that it doesn’t mean if the majority holds this stance that it might be fact or law as there is a
chance that an existing stance different from the ‘norm’ of understanding may be the truth for a client of their
reality. This will require critical and reflexive practice in my future conversations going forward in order to
identify where these differential viewpoints lie.

After I have done the Multi – Model assessment and the MCT I will proceed in using the drama therapy
technique of the Sesame approach. The idea is to establish this session within the podium outside of school
next to the Museum for young adults as well as creating policy around establishing the same concept within
school for youth and adolescents. This way building resilience against the use of cannabis can be both
prevented and decrease the high risk of use for those already using. This can also be seen as creating
awareness in schools as a form of psycho-education for those that will not be in therapy. One way to ensure
the safety of the identity of the youth that are using cannabis is that the rule to disclose why one is coming for
therapy is not needed. Therapy around increasing healthier resilience is applicable to all life struggles including
cannabis misuse which therefore does not require revealing of one’s identity. Only if client feels compelled to
share in confidentiality an open door policy will be known to them. However, if any self-harm is threatened
will be reported - this discussion will be shared in the first session already where contract and rapport will be
done. Drama therapy uses imagination, improvisation, storytelling, and dramatic projection as part of its core
principles in therapy (Jones, 1996). These principles are techniques used for healing processes experiences as
safe and non-judgemental. It works with the unconscious bringing forth to the conscious as well to help client
reflect and discover for themselves the thing they seek or need to heal from. Another approach that I will use
is the Adlerian tree of the 3 universal life tasks that consist of discovering one’s own beliefs as adolescents and
attitudes towards certain factors as an adult and how it is rooted from our belief systems (Adler & Sullivan,
1986; Adler, 2013). This activity will be done with a group setting.

Example of Adlerian activity sheet:

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Example of the Sesame approach program within 1 session:

An introduction will be done, where greetings and welcome of the client/s will occur. A check-in would be
done with the client/s. I will explain who I am and what drama therapy is about and my reason for being here
as an overarching goal. I will allow them to also ask questions, this will allow clients to enter the space and
become familiar with each other (if in group setting) and the drama therapist in the specific space. Thereafter
we will establish a contract and how therapy will commence going forward by asking questions using the
multicultural approach. “Drama Therapy is the nexus of imaginary action and real action, ideation and feeling
the heightened dramatic and the everyday human and all of these have been considered to be part of the
performance of life” (Landy, 1994, p. 26) A check-in will be done to get the body into a general space and topic
of the theme to warm the body up to the session that will take place, (Jones, 1996). For example I can start off
with stating my name and an animal whom I believe carries a strength and allow the client or the group to do
the same on the topic of Strength and resilience. Thereafter, a warm-up would follow where we can play a
game where I stat off telling a story, then the next person carries on with the story starting off with the word
‘And then’. The rule will be that there must be a verb added in the carried on story in each ‘and then’. For
example: the tiger sat on the rock, and then (next person) saw a beetle walking through the grass and then
(next person) the grass shaked… This activity will demonstrate where the client/group will be at, who is buying
into the imaginative world and who is able to imagine - which is a form of assessment in drama therapy (Jones,
1996). For the Bridge-in an Introducing of session’s theme for the embodiment and their minds to engage in
the session will occur through the use of drawing and writing – which is a distancing tool to help project the
feelings they feel being strong onto the paper (Jones, 1996). I will incorporate the Adlerian activity sheet
shown above and from there one will be able to pick up the arising or needed attitudes about life that can be
altered or worked through as a process in therapy. The activity will consist of them filling in what their believes
are around health and appearance; social and economic position of family; parental attitudes; family
constellation; and gender role when they were youngsters. Then their beliefs around other people, occupation
and love and sex as adolescents. Lastly, they may fill in what are their attitudes towards the following: their
self, difficulties, others, life and he opposite sex? One can see your own journey to how beliefs and attitudes
can be altered through life’s stages. This will automatically then link to the main activity which will be the
sesame approach. An already picked up shared story from the group will be used that would have been
discovered in the warm-up and this Maruleng community’s indigenous story will be explored through song,
dance and movement where whomever starts off the story will be allowed and then we will play the ‘and then’
game of this story. However, in this session part people can enact the story, dance it or rap it in a poem when
it is their turn. The twist of the story would be the solution seeking in the story needing the group to
collaborate in enacting as a group the roles and dances to find a solution and freeze at the end to how the
solution would look like, sound like and be like. I would then allow each person one at a time to disconnect
from the frozen structure and witness how the solution looks like as a group. This activity would be
emphasizing resilience as a community needing each other and how each person’s role plays a part in each
other’s future. Within this process the aim is to assist clients in developing their own self-awareness of how
they are in the present moment (Aponte, 2009). A reflective feedback session will be done within the bridge-
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out section, allowing for members to disengage and leave the dramatic space through reflections (Jones,
1996). The closing would be done by asking client/s to do the ritual established in the session stating an
inspiring word and their name. A closing is needed as it gets the body and mind into a general space of
knowing that the theme and session is coming to an end (Jones, 1996). The Sesame approach can be altered in
every session by means of using the different Maruleng community’s stories that are attached to certain
meanings and life lessons. One of which is my favourite story is a song of a dog that comes in the night to bark
blessing so when the day time comes the town can welcome people of all backgrounds and journeys.
Interestingly, they sing this story at weddings, funerals and new guests that come to the Maruleng’s guest
house. The example of the session plan explained above holds the innovative idea to be explored and
established in schools as policy for drama therapists to take part in providing therapeutic processes for groups
and youngsters including awareness creating of the effects of drug use at assemblies in collaboration with
other social workers and psychologists should the school have such people or if not with other teachers. This
way reaching youngsters around spreading awareness and hope to build resilience from using cannabis
becomes reachable to youth and adolescents rather than trying to have a one on one therapy session making
individuals feel exposed to their habits. Thereafter, to set up this same approach next to the museum at the
podium for those who has already left school and struggling with cannabis use. Many come for traditional
reasons which can make them feel free to come in their own time. The podium is a secluded private section
which ensures the confidentiality and safety of clients. This initiative allows clients to gain access to therapy
either from school or outside school reaching the majority of people. Access to therapy is also limited in the
Maruleng community which requires either more sangomas or elders involved not being possible.

Other approaches that can be included that would be compatible within the South African context would be
telling the same indigenous stories of the Maruleng community but through a Narra-drama approach of using
a rock and telling the story – this approach usually has a way in turning into clients wanting to tell their own
stories using the rock rhythm method. This can be cone in a group. Another approach would be the Gestalt
empty chair technique which is more of a one-on-one basis. It hold the perspective of being more directive,
reading body language of the client and getting them to become intensely self-aware of their thought
processes where they get for example – to talk to themselves in the empty chair and changing roles. This is a
very effective technique in role play (Perls, et al., 1951). Given that there are existing resources, thanks to the
teacher who has established the NGO in which I will closely work with in this program. This initiative will prove
to be an innovative idea using their indigenous stories in storytelling, song, dance, poem citing and drums
which already is being used however, in the program transferred into therapy sessions.
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