































Abel Idebe - Towards effective conflict management in local communities: the impact of …

79

TOWARDS EFFECTIVE CONFLICT MANAGEMENT IN 
LOCAL COMMUNITIES: THE IMPACT OF THEATRE FOR 

DEVELOPMENT 

Abel Idebe  
Department of English 

Gombe State University (GSU), Gombe. 
E-mail: idebeabel20@gmail.com  

Abstract 

Several local communities across the nation are faced with serious 
conflicts that have hindered the peace and development of their 
communities. Often a time these conflicts have become so age old 
that it become difficult or impossible to have them erased and as such 
the community continue to be stunned in growth and stability. More 
scathing is the fact that some of these conflict have led to serious 
violence and killings at different times in these communities. The 
need to therefore advance approaches to ameliorating the hazards of 
conflicts becomes fundamental. More often than not stakeholders and 
official agencies who are into rural and community development do 
not give proper attention to development and conflict management 
approaches that ensure that community members becomes the greater 
owners of the process and making them to become central in the 
processes of intervention. This paper therefore argues that it very 
important that active participation of local communities through 
processes that stimulates their greater commitment and desire for 
change become very vital. The paper therefore explores the Theatre 
for Development (TFD) approach to addressing and managing 
community conflicts. It reveals the importance and impact of TFD 
praxis in harnessing people potentials and better participation for 
peace, social synergy and community collaboration. 

Key Words: Conflict, Conflict Management, Theatre For 
Development (TFD), Peace and Communities 

Introduction 

Issues of conflict have existed with man and his environment over the 
ages. It continues to shape the development of his society. As a human 
phenomenon, conflict has always created a fundamental challenge which 
must be rightly addressed to make for peace and sustainable growth. 
However, it is important to state that the process by which conflict is 



AMA: Journal of Theatre and Cultural Studies

80

approached or handled can make or mar the attainment of collective goals 
and objectives in the society. Conflict can occur in different forms, it could 
occur at intrapersonal and interpersonal levels. It could also be expressed 
at group levels that is community, local, state or national levels. Conflict 
can also assume international dimension when the situation is between two 
or more nations. Our main focus in this paper will be community conflict 
as reflected within the Nigerian Society. In Nigeria over the years, 
community conflict situations more often than not, degenerate into serious 
violence as experienced in various local communities. These situations 
range from religious, ethnic to political conflicts. Idebe notes that: 

The ideological diversity of many communities in Nigeria have often 
led to a lot of parallel views on many issues that concern their 
cooperate existence. This disharmony that exists among them has 
often been the cause of violent conflicts in many Nigerian 
communities. In the course of these frictions a lot of lives and 
properties are lost. The aftermath of these conflicts is a strong 
disaffection created in the heart of one group against the other (5). 

Community conflicts have in no little way contributed to the social and 
political dislocation of many communities and the nation as a whole. More 
so it has often threatened the cooperate existence of the National Structure.  

In tackling the issue of conflicts in Nigeria, different mediums and 
measures have been employed by government and stakeholders. In spite 
of these methods applied, the management and transformation of conflict 
in a number of communities seems intractable. The reasons for these may 
include incompatibility of conflict resolution methods or lack of 
commitment on the part of stakeholders involved. But quite disturbing is 
the fact that most mediums employed to handle conflict situations are top-
down and imposing in approach. More often than not the people are not 
carried along in the process of mediation and conflict transformation of 
the conflict situation. The implication is that whatever decisions are 
reached, will be forced down on the people, thereby leaving the 
community no better than they were. It is in this regard that this paper 
advances the use of Theatre for Development (TFD) as useful channel for 
conflict management and transformation. It examines the down-top 
method of communication in the TFD practice, as well as its designed 
participatory method in conflict management and transformation 
mechanism. 

 



Abel Idebe - Towards effective conflict management in local communities: the impact of …

81

The Concept of Conflict 

As a social phenomenon, conflict arises from the pursuit of divergent 
interests and aspirations by individuals and/or groups in a defined social 
and physical setting. Different scholars and researchers have offered 
diverse views on this concept which they see as an inherently prevailing 
phenomenon in the labyrinth of human existence. Isaac defines “conflict
as the breakdown in communication between two or more parties of 
differing social, cultural, economic, ideological or political learning” (21).
Otite citing Coser, in an elaborated definition states that conflict can be 
defined: 

As a struggle over values or claims to status, power, and scarce 
resources in which the aim of the conflicting parties are not only to 
gain the desired values but also to neutralize, injure or eliminate their 
rivals. Such conflicts may take place between individuals, between 
collectivities or between individuals and collectivities. Inter-group 
and intra group conflicts are perennial features of social life (2). 

From the above explanations, conflicts are generally viewed as inevitable 
and conscious acts involving personal or group contact, over incompatible 
interests. These interests range from religious, cultural, social, political 
and economic interests. As a human experience, conflict is not static in 
nature, but it is expressive, dynamic and dialectical. In this regard, Best 
(65) while citing Fisher et.al identifies five stages of conflict as follows: 

i. The first is the pre-conflict stage, a period when goals between 
parties are incompatible, which could lead to open conflict. At this 
stage, the conflict is not well known because parties try to hide it 
from public view, but communication is undermined between them. 

ii. The second stage is that of confrontation at which point the conflict 
becomes open or manifest. This is characterized by occasional 
quarrels, low levels of violence, and search for allies by parties, 
mobilization of resources, strained relations and polarization. 

iii. The third stage is the stage of crisis which represents the peak of the 
conflict. In violent conflict, this is the stage of war and intense 
fighting, leading to killing, injuries, population displacements, and 
the use of dangerous arms and weapons. 

iv. The fourth is believed to be the outcome stage. There is an 
assumption that all conflicts will pass through this stage, one way or 
the other. One side wins and the other losses, or a ceasefire may be 



AMA: Journal of Theatre and Cultural Studies

82

declared; one may surrender, or the government or other third party 
intervening forces stronger than the warring parties intervene to 
impose or suggest a solution and stop the fighting. The critical issue 
at this stage is that the violence is decreased which follows room for 
some discussion to commence, or alternative means of settling the 
conflict. 

v. The fifth is the post-conflict stage. At this stage violence has either 
ended or significantly reduced and the parties have gone past the 
crisis stage. This is the stage to address the underlying causes of the 
conflict, those incompatible goals which created the conflict in the 
first instance, such as needs and fears of the parties. If they are not 
tackled at this stage, the conflict cycle may be re-enacted and a return 
to the pre-conflict stage with consequent re-eruption of violence, is a 
possibility. These conflict stages are also referred to by other names, 
such as “conflict process” or a “conflict progression”. 

The Concept of Conflict Management 

Although conflict may generally exist whenever incompatible activities 
occur and may result in a win-lose character, the management of conflicts 
may produce a “Win-Win situation”. It is important to state that conflict,
although has been mostly depicted as totally negative and destructive can 
also be constructive, depending on how it is handled. The concept of 
conflict management is “the process of reducing the negative and 
destructive capacity of conflict through a number of measures and by 
working with and through the parties involved in that conflict” (Best, 95).
This term is sometimes used synonymously with “Conflict regulation or
prevention”. The term conflict management is perhaps an 
acknowledgement of the fact that conflict is inevitable, but that not all 
conflicts can always be resolved therefore what can be done is to manage 
and regulate them. 

Wilmot and Hocker cited in Otite (11) identify some ideas for managing 
conflict. This include clarification of communication which involve: the 
speaking out what is in one’s mind or heart, listening carefully, expressing
strong feelings appropriately, remaining rational, asking questions, 
maintaining a spirit of give and take, avoiding harmful statements, asking 
directly what is going on, telling others one’s opinion, looking for flexible
“shades of gray” solutions, recognizing the power of initiating a co-
operative move, identifying conflict patterns, and engaging in negotiations 



Abel Idebe - Towards effective conflict management in local communities: the impact of …

83

of agreements and settlements. Appropriate communications skills and 
channels are curial in conflict management. 

Conflict management should occur in a polite atmosphere and context. 
Otite (12) further remarks that conflict managers must be skilful to 
overcome the generally chaotic and disorderly scenarios associated with 
the behavior of conflicting parties. Emotions or sentiments and 
irrationality must be controlled and managed. Simple common language 
and the use of metaphor normally make positive contributions to conflict 
management. Conflicts need not be portrayed as warfare or violence. Ebo 
(52) explains that:  

Conflict can be managed to become the antithesis of a given situation, 
which is what brings about a change in an original situation. Proper 
management of conflict can bring positive changes in the society. 
However, conflicts that are not properly managed degenerate to 
crises and violence, protests, youth restiveness, gender violence, 
kidnapping etc. 

The position given above, highlight and presents an insight on why 
creative and participatory mediums such as the TFD practice which allows 
for a serene, peaceful, active and united participation of all stakeholders 
involved in the conflict need to be explored. It is important to state that 
the idea of managing conflict to bring about change in conflict situation is 
quite central in the TFD process of managing conflict. This is so because, 
it is only in this way that the society concerned can gain the needed 
development which they lack. 

The Concept of Theatre for Development (TFD) 

TFD is a theatrical approach to development issues that gives emphasis to 
active participation, critical consciousness and dialogue among 
participants. The practitioners of this theatrical form are seriously 
committed to community transformation through theatre. Issues and 
problems affecting the community usually form the thematic thrust of this 
type of theatre. It ensures that a clearly worked out process or workshop 
is taken to engage the community in order to get them attend to the 
challenges of their social realities. This form of theatre is also known by 
different nomenclatures. These include; Theatre for Integrated Rural 
Development (Th.I.R.D), Participatory Theatre, Grass-root theatre, 
Theatre for Integrated Development (T.I.D.E), Theatre of the Oppressed 
and Community Theatre. Abah, defines TFD as “the practice by which
theatre is put at the service of the disadvantaged rural and urban poor for 



AMA: Journal of Theatre and Cultural Studies

84

the purposes of discussing and working out strategies for dealing with their 
socio–economic conditions” (17).  

Commenting in a similar vein, Ifeanyi (71) state that “theatre for
development is a process of stimulating and sustaining participation with 
the target community along development lines, using the world of theatre 
to achieve real solution to practical life problems affecting the people”.
The functionality of the TFD process in bringing the community to the 
awareness of the key role they play in shaping their hopes and prosperous 
livelihood is here emphasized. The community using Paulo Freire’s term
is “conscientized” and made to realize the potentials they have in
harnessing their individual and collective energy towards addressing the 
myriads of problem they are faced with; instead of picking up arms against 
each other that further cause destructions to lives and properties. Ahura 
(55) thus gives an elaborate explanation of the concept by stating that it: 

…emphasizes the mass mobilization of the rural masses for the
purpose of upgrading themselves intellectually and materially, so that 
they come to a thorough understanding of themselves and their 
environment. By this understanding they as a group come to full 
knowledge of the structures that are injurious to them and those that 
enhance their prestige as human beings. They therefore prepare 
themselves to control their destiny by seeking to change the   existing 
situation. 

How theatre can be used as a rallying point to bring about the needed 
change in the community is here emphasized. How it allows the 
community to be released from bottlenecks and unfavourable conditions 
such as conflict that hinders community growth and stability, thereby 
spurring them into a new experience wherein they see themselves as a 
collective-force for sustainable development is central to this form of 
theatre.   

The Importance of TFD in Conflict Management 

Theatre is a creative and expressive area of human activity which 
provides a powerful source of peace – building energy and passion 
that is not always apparent in the formalized processes of political 
conflict management. (Ramsbotham, 347). 

It is worthy of note that theatre in general work in a familiar terrain when 
it is utilized in a project dealing with conflict. This is because by its very 
nature, theatre involves conflict and the management and transformation 



Abel Idebe - Towards effective conflict management in local communities: the impact of …

85

of conflict as an embedded mechanism in both its conception and 
realization (Kafewo 160). Jeyifo (7) further argues that:  

More than any other arts, drama deals at highly concentrated level 
with contradiction of social existence. A dramatic piece, which does 
not in one form or another deploy as its organizing structural 
criterion, a physical or emotional conflict, moral or spiritual contest 
of will, is almost inconceivable equally important is the fact that 
drama does not merely subsumes conflict as its organizing structural 
motive, beyond this, drama also axiomatically attempts a provisional 
synthesis in the conflicting pulls within its constitutive actions.  

Drawing from the ideology of the larger frame work of drama and theatre 
as a whole, TFD uses dramatic performance at the grassroots level to 
unfold and analyze development problems of the community and raise 
critical awareness and potentials to solve these problems. Kafewo further 
observes that: 

Theatre here functions as a cooperative, with common leadership and 
ideological orientation, without a director as such. The audience’s
direct involvement is sought in order to create a drama specific to its 
interest and the materials are structured through improvisation and 
discussion (161). 

It is in the light of the foregoing points that the significance of a TFD 
workshop aimed at looking at the challenges of conflict is found. The issue 
of conflict management and transformation through theatre and drama is 
a practice that has pre-occupied several theatre scholars over the years. 
Practitioners through different mediums of theatrical explorations have 
actively advocated and preach the gospel of managing conflict affecting 
different ethnic, religious, social, geographical and sectional affinities. 
Nwosu (35) explicitly argues: 

…That the conflict management and transformation attribute of the
theatre is age – long and therefore time – tested is a truism. For 
instance, as far back as the pre-colonial era, the traditional theatre 
functioned as a veritable instrument for handling issues of conflicts. 

The traditional African Theatre is not alone in its conflict management 
agenda. Today the modern and post – modern theatre studies have also 
given concrete attention to the issues of conflict management and 
transformation. One of the most effective ways used to achieve this agenda 
is through Theatre for Development. The attention and exploration given 
to this form of theatre by today’s practitioners, is borne out of the emphasis
it places on the bottom – up model of communication. This model of 



AMA: Journal of Theatre and Cultural Studies

86

communication gives power to the people affected to decide greatly the 
outcome of their predicament.  

The basic idea behind this theatrical form is to enable members of a 
conflict group to interact in a friendly and approachable manner rather 
than a coercive manner; as well as giving an objective insight into the 
different parties’ mutual condition. A main thrust to this theatrical
methodology, is to destroy negative stereotypes held by parties in conflict 
situations against each other and help to re-humanize their relationships. 
By learning together how to respond to conflict, through the TFD 
experiences, the parties to community conflict are made to realize that they 
can actually work together at solving their problems. Nwosu (ibid) thus 
states that theatre and drama in this way 

…act as a catalyst that stimulates change in modes of behaviour and 
perception of thoughts, which is capable of reshaping the social 
structure of a people for a more conducive and comfortable living. 
Thus theatre has a high rate tendency of conflict management and 
transformation. This it does through analyzing past conflict, 
highlighting mistakes and guarding against future occurrence of 
conflict. 

In this way, they are helped to gain a realistic understanding of what 
conflict is and what it is not. They are also made to have a better 
understanding of the cost of violent conflict.  

As a problem – solving process for conflict management, the dominant 
questions in a TFD setting will be; how can the parties to a conflict 
peacefully participate and work together to develop a community they 
both share? How do the parties develop relational empathy? In terms of 
conflicting cultures, how do the two cultures merge into the production of 
what Broome describes as a “third culture”. Third culture as Broome (404)
informs can only occur in a conflict situation “through interaction in which 
participants are willing to open themselves to new meanings, to engage in 
genuine dialogue, and to constantly respond to the new demands 
emanating from the situation”. This is a very essential prerequisite for
conflict management and transformation. Still writing on how the “third
culture” manifests, Casmir and Asuncion–Lande (294) further describes 
that:  

Through beginning with contrasting perceptions and behaviours, two 
individuals through their interaction, create a unique setting for 
interaction. In the conjoining of their separate cultures, a third 
culture, more inclusive than the original one is created, which both 



Abel Idebe - Towards effective conflict management in local communities: the impact of …

87

of them now share. Thus a third culture is not merely the result of the 
fusion of two or more separate entities, but also the product of the 
“harmonization” of composite parts into a coherent whole. 

To achieve this harmonized experience, the TFD process becomes very 
sensitive and cautious as regard issues and values which are peculiar to 
the different parties as well as those issues which seem to be commonly 
acceptable by them. While issues which are very peculiar to both parties 
are de-emphasized, values and social experiences which are common and 
acceptable by both parties are emphasized and brought to the fore. In this 
way both cultures are synthesized to bring about a culture of love and 
mutual respect. The TFD approach can be considered a very useful method 
in dealing with conflict, as its outcomes are usually self-supporting in the 
sense that it takes into consideration, all parties concerned. The essence of 
TFD in conflict management can be viewed in the light of what Kelman 
(ix) remarks in discussing the importance of problem-solving procedure. 
He states that problem-solving procedure is meant to:  

…empower the parties, meet their vital needs for identity and 
security, and lay the foundation for a stable co - operative relationship 
consistent with the welfare and development of each party. Such 
changes imply some re – distribution of power as well as the gradual 
creation of a new – culture shared by the former adversaries without, 
of course abandoning their separate cultures. 

This is exactly what TFD practice aim at achieving between conflicting 
parties. The opposite parties are led to a new orientation that demands 
collaborative and progressive culture as well as a diplomatic attitude 
towards one another. Over the years a number of theatre practitioners have 
achieved great result using this medium of conflict management and 
transformation. A good example in this regard is the Hammock to Bridges 
(TH.I.R.D) Experience. It was organized by the theatre section of the 
Department of English, University of Yaoundé, Cameroon. Here, there 
was a serious conflict between the Konye, Ngolo – Bolo and Ndoi villages 
in Cameroon. The conflict situation was so serious that Butake Bole - one 
of the resource persons in the community theatre trip, described it as a 
“psychological war”. This negative situation made it impossible for them
to agree on building an accessible bridge to replace a hammock over the 
Mungu river for their effective transportation., but after the interventionist 
medium through the TFD process, the conflicting communities were able 
to resolve their differences and therefore saw the need of coming together 
to build a brigde that will replace the hammock. It was this beautiful 



AMA: Journal of Theatre and Cultural Studies

88

achievement that made the organizers titled the community theatre 
experience as “Hammock to Bridges”. Another example is provided by
Steve Abah in his book Performing Life. He recounted how the dispute 
that emerged in Otobi Benue state, over the usage of a grinding machine, 
meant for the good of the general community was resolved, using the TFD 
process.  

To further establish the commitment and potentials which practitioners 
make out of the TFD practice in bringing about conflict management and 
transformation, Uzoji and Iorapuu (101) generates a new concept termed 
Theatre for transformative Peace and Conflict which they define as “as an
instrument of cultural power that provides the connection between theatre, 
democracy and conflict resolution, where community participants 
articulate and critically question their assumptions and perspective”. Here
they conceive of a TFD experience that is capable of generating more 
critical and spontaneous response by community members in changing the 
negative conditions that hinders peace and harmony in the community. It 
is an attempt to make out a more revolutionary outcome of the TFD 
process. While making an example of what can be achieved through the 
theatre for transformative peace and conflict, Uzoji and Iorapuu (102) give 
vivid account on the strategic impact which the approach played in 
Panyam, Mangu L.G.A of Plateau state. 

Prior to the 2007 elections, YARAC used dramatic skits to engage 
the Panyam community on elections, how to vote, freedom of choice, 
electoral conflicts and voters’ mobilization. The community actually
took over the process. They owned the story and ensured that the final 
performance was successful. The result of the performance was 
spontaneous as the audience (community) engage better by speaking 
to the issues in the performance. Elders, politicians, women and 
youth leaders spoke. There were instant resolutions on the way 
forward. Youths resolved not to allow themselves as conduits for 
political violence. 

Although a relatively new concept that is capable of generating more 
meanings and perspectives, it necessarily brings to light the level of impact 
which employment of TFD agenda can be in bringing about community 
peace, transformation and sustainable development. 

Conclusion 

Communal conflict still continues to plague our national landscape. A lot 
of communities keep retrogressing in the nation as a result of steep 



Abel Idebe - Towards effective conflict management in local communities: the impact of …

89

divisions that that have hampered their growth and development. The 
government and stakeholders seem to be more concerned with the stability 
and peace of urban and commercial towns with little or no commitment to 
ensuring that local communities enjoy peace and social development. 
Even when some attention is given to intervening on communal conflicts 
and social challenges, it is more of lording it over them without making 
real commitment to getting them actively participate in the process of 
interventions. This paper which explores the importance of TFD approach 
to conflicts in communities have shown the need to advancing creative 
and participatory approach to communication wherein the community 
members are empowered to become stakeholders in sorting out and 
ameliorating the effect of conflicts in their society. It advances how 
participatory modes of communication ensures that the people become 
more interested in the path of managing their differences and misgivings 
against each other thereby giving them that impetus to commit themselves 
to the peace, synergy and collective development of the community. 

References: 

Abah, Steve. “Participatory Theatre: Issues and Cases”, Hager Iyorwhuese
(ed.). The Practice of Community Theater in Nigeria. Lagos: 
SONTA, 1990. 

Ahura Tar. “Population and Participatory Theater for Conscientization: The
Question of Methodology”, Hager, I. ed. The Practice of Community 
Theatre in Nigeria .Lagos: SONTA, 1990. 

Albert, Isaac. “The Socio – Cultural Politics of Ethnic and Religious 
Conflict”, Ernest Uwazie et-al. (eds.) Inter – Ethnic and Religious 
Conflict Resolution in Nigeria. Oxford: Lexington Books, 1999. 

Best, Shedrack. Introduction to Peace and Conflict Studies in West Africa: A 
Reader. Ibadan: Spectrum Books, 2006. 

Broome, B.J. “Management Difference in Conflict Resolution: The Role of 
Relational Emphathy”, Dennis J.D Sandole and Hugo Van Der
Merwe (eds.) Conflict Resolution Theory and Applications. 
Manchester and New York: Manchester University Press, 1993.  

Ebo, Emma. “J.P. Clarks The Wives’ Revolt and the Imperatives of Conflict
Resolution in the Niger Delta”, Asagba, O.A. Theatre and Minority 
Rights Perspectives on the Niger Delta. Ibadan :Kraft Books, 2010. 

Idebe, Abel. Theatre For Development (TFD) as a Community Conflict 
Management and Transformation Strategy: A Study of the Zangon 
Tama (TFD) Experience. An Unpublished M.A Dissertation 
submitted to the Department of Theatre and Performing Arts 
Ahmadu Bello University, Zaria, 2013. 



AMA: Journal of Theatre and Cultural Studies

90

Iorapuu Tor. “Theatre For Transformative Change, Counter – Revolution to 
Theatre for Development (TFD) Practice in Nigeria: Lessons from 
the April 14 and 21 General Elections” Asagba O.A. (ed.) Theatre 
and Minority Rights: Perspectives on the Niger Delta. Ibadan: Kraft 
Books, 2010. 

Kafewo, Samuel. “Rhythm of Transformation: Theatre and Conflict 
Resolution in Northern Nigeria”, New Theatre Quarterly, Vol. 
XXIII. London. Cambridge University Press,  2007. 

Jeyifo, Abiodun. The Truthful Lie. London: New Beacon Books, 1985. 
Kelman, Herbert. “Forward”, Denis Sandole and Hugo Van de Merwe (eds.) 

Conflict Resolution Theory and Practice. Manchester: Manchester 
University Press, 1993. 

Otite, Onigu. “On Conflicts, Resolution, Transformation, and Management” 
Otite Onigu and Albert Isaac (eds.) Community Conflict in Nigeria: 
Management Resolution and Transformation. Ibadan :Spectrum 
Books, 1999. 

Shedrack, Best et – al. “Communal Conflict and the Possibilities of Conflict
Resolution in  Nigeria: A Case Study of the Tiv-Jukun Conflicts 
in Wukari L.G.A, Taraba State”.  Otite Onigu and Albert Isaac 
Community Conflict in Nigeria: Management, Resolution and 
Transformation. Ibadan: Spectrum Books, 1999. 

Uzoji, Emmanuel and Iorapuu, Tor. “Theatre, Terrorism and Genocide in 
Nigeria: An  Examination of the Theatre for Transformative Peace 
and Conflicts in Plateau State”. Kafewo Samuel (ed.) Nollywood and 
Theatre for Development (TFD): Exploring the Bridges of 
Interaction. ABU, Zaria: SONTA Conference Book of Proceeding, 
2011. 

Casmir, M.L and Assuncio-lande, N.C “Inter Cultural Communication 
Revisited: Conceptualization and Methodological Approaches”
Communication Year Book, (12) California Sage, 1989. 

Ogu-Rapheal Ifeanyi. The Medium of the Theatre as an Alternative conflict 
Resolution Mechanism: A Case Of the Niger Delta. 
www.uidaho.edu/martin_archive, 2009.  Date Retrieved: 12th 
December 2011.   

Woodhouse,T. and Ramsbotham,O. Peace Keeping and Conflict Resolution. 
London: Frank Cass Publishers, 2000. 

 
 


