Tokstret: Youth Arts, Activism and Decolonization in Papua New Guinea

Abstract

In Tok Pisin, the vernacular of Papua New Guinea, ‘Tokstret’ means "be honest" or "talk straight." As the official language, Tok Pisin unifies 850+ indigenous languages while blending and borrowing words rooted in the country’s colonial legacies. This case study explores how the universal languages of theatre can be reclaimed and decolonized to create more accessible and inclusive theatre, focusing on youth and community programs in Port Moresby. Drawing on decolonization theories and principles of applied drama education, strategies that foster change, decolonization, and community engagement are highlighted. Linda Tuhiwai Smith’s (2012) framework for decolonizing research is extended into applied drama and performance to demonstrate how these practices can serve as inspirational principles for reimagining social change. The ‘Youth Arts Program’ (YAP) serves as a catalyst for new works addressing social issues, while post-YAP involvement in ‘Arts Activism,’ a grassroots collective, amplifies community voices. These efforts are juxtaposed with traditional 'mainstage' Moresby Arts Theatre performances, revealing the complex dynamics of development, decolonization, and the empowerment of young artists in a post-colonial milieu. Through applied drama and theatre performance, these initiatives embody the essence of ‘Tokstret,’ fostering honesty, dialogue, and empowerment as tools for cultural revitalization and social transformation.