No Child Stands Alone: How Forum Theatre Turned Child Protection into Participation

On 20 June 2026, children, government representatives, civil-society organisations and community partners gathered at Lumko High School in Amalinda for the Eastern Cape Provincial Day of the African Child Commemoration.

Hosted by the Office of the Premier, the event was held under the theme:

No More Harm: Advancing Children’s Rights to Protection and Dignity in Africa.

Jika Uluntu contributed to the programme through Voices of Ubuntu and its participatory Forum Theatre production, No Child Stands Alone. The performance formed part of the official programme segment titled The Voice of the Inner Child.

From watching a story to entering the conversation

Forum Theatre differs from a conventional performance because the audience is not expected to watch silently and leave.

A facilitator known as the Joker pauses the story at important moments, helps the audience examine what is happening and invites participants to consider what could be done differently. The audience moves from being spectators to becoming spect-actors—people who can question the story, propose alternatives and rehearse safer responses.

The Joker holds the conversation, protects the dignity of those participating and helps the room connect emotional moments to practical questions about children’s rights, protection and shared responsibility.

A 12-member Voices of Ubuntu team supported the performance, facilitation, participant engagement and documentation. Within a shortened programme slot, the team presented two scenes: The Playground and The Home.

When difference becomes exclusion

The playground scene introduced Amani, a new learner who arrived with a ball, a greeting and a desire to join the other children.

Before anyone learned her name or story, she was excluded because she looked and spoke differently.

The Joker paused the scene and helped the audience recognise othering the process of deciding that someone is “not one of us” before recognising their humanity.

Through the scene, children explored language, visible difference, disability myths, belonging and dignity. The conversation also challenged misinformation about vitiligo and reinforced that no child should have to hide their skin, language, culture or disability in order to belong. 

Harm does not only happen through physical violence.

The home scene followed Sisipho into a household carrying pressures of its own.

The scene showed that children may be harmed not only by physical violence but also by words that make them feel like a burden, a mistake or the cause of an adult’s unhappiness.

At the same time, the story did not reduce carers to villains. It acknowledged that adults may themselves be carrying poverty, exhaustion, shame, grief, unresolved trauma and limited support.

The central message was that understanding an adult’s pain does not require society to ignore a child’s pain. Families and carers also need support so that hurt is not continually passed from one generation to the next.

More than 100 expressions of what childhood should feel like

Following the performance, children were invited to contribute to a Wall of Expression by responding to the question:

What does a safe, happy childhood look like to you?

In a short period, the wall collected more than 100 written and drawn responses. Some expressed joy, love, gratitude and encouragement. Others named fear, sadness and difficult emotional experiences.

Among the responses were the following:

“You have a right to be heard.”

“Boys need hugs too.”

“Love yourself.”

“TRANSFORMED.”

The diversity of the responses was important. Children were able to participate in different ways—by speaking, writing, drawing and responding in the language that felt most accessible to them.

One learner reflected on the need to accept differences and include people with disabilities. Another spoke about how much easier it was to understand and participate when the programme was delivered mainly in isiXhosa, with English used where helpful.

The feedback showed that children had not simply watched a performance. They had understood its central messages about inclusion, respect, language, belonging and protection.

 

Turning policy into lived understanding

Child-rights policies use important language such as participation, dignity, protection and non-discrimination. Forum Theatre helps translate these principles into situations children recognise:

• being excluded from play;
• being judged because of appearance or language;
• carrying pain inside a household;
• being afraid to speak;
• or needing someone to stand beside them.

The Day of the African Child intervention demonstrated how arts-based methods can turn a public commemoration into a participatory learning space.

Children do not lack a voice. Too often, they lack safe and welcoming platforms where their voices can be heard, believed and acted upon.

Every voice matters. No child stands alone.