A village in Guinea may seem worlds away.  However, given that Africa is home to 60% of the global population living with HIV/AIDS, any larger perspective on the disease must inevitably look to the continent.  And since Transdiaspora Network’s interventions employ Afro-Caribbean traditions such as storytelling and dance, this article’s sojourn could also be conceived as a return.

Friguiagbe, Guinea, September 2003:

Under a florescent floodlight, some 2,000 people—mostly residents of this town in Guinea’s coastal region—gather until the wee hours of morning for a festival of music, theater and dance.  While the traditional melodies performed here are centuries old, their lyrics are decidedly modern.

  “Use a condom!” chants one ensemble. “Or else stay celibate!”

The Ballet Wassasso from the capital city of Conakry sings the message in French and Susu, the local language, before regaling the audience with a dance of flailing limbs, an explosion of drums, and a shower of prophylactics.

As the number of Africans living with HIV/AIDS approaches 30 million, this event, the Festival of African and Guinean Folklore (FESTAFOLG), has joined an Africa-wide trend integrating AIDS education and traditional culture.  The Festival’s theme: “Stigmatization and discrimination associated with HIV/AIDS, the cultural context.”

“Folkloric culture is an important platform for relaying messages,” said Alfred Houlemou, a Guinean television journalist and the Festival’s principal organizer. Houlemou explained that the West African singer/historian, the griot, traditionally plays a social role not only as a traveling artist but also as a conveyor of practical information from village to village. 

“Will you say to the people of Friguiabe, ‘Hey, I’m going to send you an e-mail with information on preventing AIDS?’ No—the medium is wrong,” said Papa Fadiara Cissokho, who organizes a festival each year in Louga, Senegal. Even drumming, which he says replicates spoken language in many traditional African cultures, is being used to further AIDS awareness. “Rhythm is the best vector of communication in Africa,” he said.

The Paris-based International Council of Organizations of Festivals and Folklore says FESTAFOLG is one of many African festivals that have used folk culture as a platform for addressing societal concerns, ranging from ethnic conflict to sustainable development. Africa Alive!, a network of media-savvy youth organizations that have become one of the continent’s largest AIDS prevention groups, also uses music festivals to relay educational messages in eight countries. And in Cameroon, the John Hopkins University School of Public Health has collaborated with Cameroonian folk artist Paul Kengmo to produce cultural events about AIDS in rural villages known as Project Ah Ta-Ah.

In Guinea, the government’s Department of Culture provided most of the $50,000 needed to produce FESTAFOLG, which featured two-dozen ensembles from Guinea, Ivory Coast and Benin. Meanwhile, a group called PRISM sponsors 10 traveling theater troupes in Upper Guinea as part of its HIV/AIDS education program. On the day of a performance, the group organizes a Mamaya—a dance for members of a particular age group—or commissions a konden—a masked dancer—to parade around the village with drummers to attract villagers to watch interactive theater performances about HIV/AIDS.

The idea of integrating traditional West African arts and HIV/AIDS education dates to at least 1993, when Antonio Francesco, a U.S. Peace Corps volunteer in Diourbel, Senegal, assembled a troupe to bring health education with support from doctors to rural villages. The group toured for several months, performing with permission of village leaders and holding seminars after each show. Two months later, a health team was sent to conduct random interviews in each village, and found that villagers both remembered and understood the message.

PRISM has seen similar results. A survey conducted a year into its program found that compared to the population of Beyla—a control province in Guinea’s forest region which received no HIV/AIDS intervention—Upper Guinean men were twice as likely to use a condom.

But some HIV/AIDS workers warn that purveying health facts through the arts can be risky. “Theater and music and traditional ballets are good for attracting big audiences and presenting basic information,” said Kimberly Ross, HIV/AIDS adviser in Guinea for the U.S. Agency for International Development. “But they haven’t been effective in addressing myths and misconceptions.”

At the Friguiagbe festival, a group called Ballet Saamato performed a scene in which a comb and razor used by an unhygienic barber were said to be contaminated with the HIV virus. Such an infection “is possible,” said Mackenzie Dabo, former coordinator for the Peace Corps’ HIV/AIDS programs in Guinea, “but the chances are slim.”

Many of the festival’s scenes portraying death from AIDS included a sexually promiscuous female character, usually a prostitute. Such depictions are common in educational theater “because they’re funny and easy to represent, but they reinforce the stereotype that only prostitutes and promiscuous people can get AIDS,” Ross said.

Without consultation from knowledgeable AIDS workers, cultural performances may even reinforce misconceptions and add to the societal stigma suffered by many AIDS victims, Ross said. However, most health workers add that simply by addressing the topic of sex openly, folk performances can break through the fundamental taboo about discussing sexuality that is one of the biggest barriers to AIDS education in Guinea and elsewhere in Africa. They say traditional culture is a powerful awareness-raising tool when coupled with accurate information, thoughtful production, and discussions following each performance.

*Written by Joshua Cohen, a PhD student at Columbia University’s Art History Department, who aims to change western framings of African arts.