TOY - Trainers Online for Youth
This is a reference for Sukaina El Outa
"Care to Act" training course was meant to empower youth workers and young people through theater-based and non-formal education methods, enabling them to become active, informed, and engaged citizens who promote democratic participation, social justice, and equality in their communities.
Specific Objectives:
- Equip youth workers with the knowledge, skills, and tools to facilitate peer education sessions and community-based initiatives.
- Build their ability to engage in decision-making processes and promote youth participation.
-Encourage young people, particularly from disadvantaged or conflict-affected backgrounds, to engage in dialogue, critical thinking, and civic participation.
- Support the democratic restructuring of society through creative, participatory, and educational methods.
- Use theater as a tool for self-expression, awareness-raising, and social change.
- Enable youth to address and reflect on societal issues such as Gender-Based Violence, Stigma & Discrimination, Bullying, and Racism.
- Train participants to design and lead interactive, community-based theater sessions.
- Improve their facilitation techniques to foster open discussions and meaningful audience engagement.
- Strengthen participants’ self-confidence, self-care, and psychological resilience to handle sensitive social issues effectively.
- Promote understanding of human rights, citizenship, conflict resolution, communication, and teamwork through experiential learning and community theater.
Needs Addressed by the Training:
- Lack of capacity among youth workers to engage communities on social issues and promote civic participation.
- Need for innovative educational approaches (such as theater) to make learning about human rights and democracy more participatory and impactful.
- Social challenges among young people, including exposure to discrimination, violence, and marginalization.
- Limited youth engagement in decision-making processes and lack of platforms for self-expression and dialogue.
- Need for psychosocial support and resilience-building among youth workers tackling difficult social topics.
The project aligned with the organizations’ mission to promote youth empowerment, social inclusion, and active citizenship.
It complemented their goals of strengthening youth work practices through non-formal education and capacity-building.
The use of theater-based methods supported the organizations’ commitment to creative and participatory tools for social transformation.
The training enhanced the organizations’ ability to address key social issues (GBV, discrimination, bullying, racism) in their local communities.
It contributed to their broader objective of building democratic, equitable, and resilient societies through youth engagement and leadership.
The target group of the activity consisted of youth workers, peer educators, and academic educators who are actively involved in youth work, non-formal education, or community engagement. These participants were selected for their experience and motivation to use Interactive Theater Methods and Theater of the Oppressed as tools for education, awareness-raising, and social change.
Participants represented a diverse group in terms of professional background, gender identity, and cultural experience. Around half of them came from marginalized or disadvantaged backgrounds, including youth from rural areas, immigrants, ethnic minorities, LGBTIQ+ youth, refugees, and survivors of violence or discrimination. This diversity enriched the learning process and ensured multiple perspectives within the group.
The training brought together 27 participants (three per country) from the following nine countries: Albania, Bulgaria, Germany, Italy, Lebanon, Palestine, Portugal, Turkey, and Ukraine. The program was designed as a truly international learning experience, fostering intercultural dialogue and cooperation among participants from Europe and the Middle East.
Although the participants were residing in the countries listed above, they came from a wide range of national and cultural backgrounds, including Albania, Bulgaria, Brazil, Ecuador, Germany, Iraq, Lebanon, Palestine, Pakistan, Portugal, Italy, Syria, Türkiye, and Ukraine. This mix of nationalities and backgrounds encouraged cross-cultural learning and understanding.
Overall, this was an international training course aimed at building skills in using theater-based and participatory methods for community engagement and peer education. The group represented a mix of nationalities, professional experiences, and social backgrounds, aligning perfectly with the international and intercultural objectives required for TOY reference activities.
Theater-Based and Interactive Methods
Theater of the Oppressed Techniques – inspired by Augusto Boal’s methodology:
Image Theater: Participants created silent body sculptures to represent social issues like discrimination or gender inequality, followed by group reflection on the meanings and emotions behind each image.
Forum Theater: Participants acted out short scenes depicting real-life situations of oppression (e.g., bullying or racism). The audience could intervene, replace the actors, and suggest alternative actions to challenge injustice.
Invisible Theater: Small groups performed spontaneous, unrehearsed social scenarios in public or group settings to provoke discussion and awareness.
Role-Playing and Simulations
Participants took on different roles (e.g., victim, bystander, authority figure) to explore power dynamics, empathy, and decision-making in situations related to gender-based violence, stigma, or exclusion.
Storytelling and Playback Theater
Participants shared personal or community stories about discrimination or empowerment. Others “played back” these stories using movement and voice to reflect emotions and perspectives, promoting empathy and understanding.
Group Discussions & Brainstorming Sessions
Used to generate ideas, share experiences, and co-create definitions around key concepts like “peer education,” “active citizenship,” or “social inclusion.”
Daily Reflection Circles
Each day concluded with guided reflections using creative tools such as drawings, emotion cards, or movement-based sharing to help participants analyze their learning outcomes and emotional responses.
Peer-to-Peer Learning
Participants learned from one another through group facilitation, feedback sessions, and co-creation of theater pieces addressing local issues.
Body Awareness & Trust Exercises
Physical and movement-based games helped build group cohesion, trust, and non-verbal communication – essential for effective theater work.
Creativity and Improvisation Sessions
Used to stimulate imagination, adaptability, and collaboration. These included improvisational games where participants had to react spontaneously to given prompts or social dilemmas.
National Group Work and Presentations
Participants collaborated in national teams to design and present theater-based follow-up activities, applying what they learned to their local contexts. Peers and trainers provided feedback in a constructive, non-formal way.
ChatGPT said:
The training activity successfully enhanced the knowledge, skills, and leadership abilities of youth workers, promoting human rights, active citizenship, and innovative democratic participation. Through participatory and community-based theater practices inspired by the UNFPA’s Theater-Based Techniques for Peer Education Training Manual and Augusto Boal’s Theater of the Oppressed Manual, participants developed competencies in communication, teamwork, conflict resolution, and advocacy. The impact of the training is evident in the numerous follow-up initiatives led by participants, including community workshops, podcasts, online campaigns, and awareness activities addressing issues such as bullying, racism, and gender-based violence. For example, a Portuguese participant created a podcast on inclusion, a Brazilian participant launched online advocacy against racial bias, and Palestinian participants organized workshops on racism and gender-based violence. Participants from Ukraine, Albania, and Turkey also collaborated on an online campaign for the 16 Days of Activism against Gender-Based Violence. These actions demonstrate the sustainability of the project and its success in fostering active engagement, leadership, and volunteerism among youth workers. The training outcomes were further disseminated through social media channels, partner websites, and the publication of four interactive-community theater pieces that addressed themes of oppression and social inclusion, reflecting the project’s alignment with the European Union Youth Strategy 2019–2027 and its long-term commitment to empowering young people as agents of social change.
Publications:
https://www.facebook.com/ifydofficial/posts/pfbid02baRqUdDXzsFmBvCQ8h2kurEcksLWmGMHa7621kWN63ov9wZXvYfcWvx5o5xAR4iUl
https://www.facebook.com/YPEER.Network/posts/pfbid02o9Jk3cZ4yUSyC1BuXq7CrrE79aVJs3badwnQaELnyD37FS4RZHvgJfL6p9tqfg7Ml
Tasks and Responsibilities:
Designed and implemented non-formal education sessions focused on combating discrimination, bias, and stereotypes.
Facilitated interactive and creative workshops using community theater techniques to promote inclusion and social awareness.
Supported participants in identifying and developing their personal and professional skills, including communication, leadership, and teamwork.
Mentored youth workers and young participants to take active roles in community initiatives and social projects.
Developed and provided educational resources and manuals to help youth workers apply the methods independently.
Encouraged dialogue, critical thinking, and civic engagement among participants to foster democratic participation.
Coordinated group dynamics and ensured a safe, inclusive, and participatory learning environment.
Collaborated with other trainers and project partners to design the training program and evaluate its outcomes.