Kumekucha Quest are peer-facilitated support groups in which 18-24-year-olds who have experienced trauma collectively embark on a 12-week Quest to address painful emotional scars left behind. The program is rooted in known models of healing-centered peacebuilding and trauma-informed mental health. Each step of the journey uses a creative tool, such as art or storytelling, to explore a particular issue. Through the Quest, agency is developed in the participants and they become mentors to hold space for 10-17-year-olds from their communities.
The Adaptation Workshop took place at the end of May 2020. Due to COVID-19, we held two workshops simultaneously - one at the GSN offices in Nairobi and another at the SambsaSports offices in Kwale.
Participants had previously attended a 3-day Wellbeing and Resilience (WebR) encounter in preparation for the 5-day Adaptation Workshop, during which they were familiarised with both the WebR Framework and the Cycles of Violence (CoV) before their scheduled adaptation.
At the Adaptation Workshop, there were 15 participants overall across both locations - all young adults and split evenly between male and female - and an additional 3 artists.
The adaptation workshop consists of a number of smaller activities (discussions, brainstorming, prioritizing, and consensus-building around the concepts around a contextually adapted cycle of violence. The adaptation team then writes what the concepts mean (i.e. the definition) and secondly gives an example through a real-life story explaining the concept. By the end of the adaptation workshop, the team will have developed and documented the following:
A program name & logo
Contextualized definitions and stories for the Cycle of Violence and Breaking Free
Selected and written traditional folktales that explain the breaking free concepts of truth, healing, forgiveness, peace, and reconciliation.
For this particular workshop, participants were also tasked with brainstorming on the Kumekucha Watoto and Vijana programs.
High levels of trauma in homes and the community and inequality mixed with youth unemployment (40%) influence youth's sense of self-belief, agency, and creativity. It negatively impacts their wellbeing, their
behavior, their ability to learn and engage healthily with others. They struggle to become a productive part of the economy increasing instability, negative health outcomes, poverty, crime, and extremism. Trauma is a significant factor for young Kenyans, impacting their mental health.
Kenya has experienced a series of traumatic events since the violence of colonialism began in 1895. These traumas are reproduced in structures of governance, in political cultures and, above all, in daily interactions amongst citizens, within the community, and in the homes4. In Kenya wanton poverty, high youth unemployment, and a general lack of stake in society has fed into the cycles of violence to date. Traumatic experiences can include witnessing or experiencing increasing number of violent crime cases, extrajudicial killings, electoral violence, bullying in schools, terrorism, loss of a loved one, family and community violence, living with a family member whose caregiving ability is impaired; and having a life-threatening injury or illness including current COVID-19 effects. Moreover, the increasing levels of communal violence are underlying factors of mental health risks for Kenya youth.
With over 40% of youth unemployment in a society with one of the highest high-level corruption rates in the world, the impact on self-belief, agency, and creativity has been severely impacted. In addition to the imperatives of patriarchy, young people, particularly young men, are the frontline purveyors of all forms of violence. All of the above cause trauma which is a risk factor for nearly all behavioral health and substance
use issues8. Trauma experienced by children and youth is a pervasive and serious public health issue that requires a coordinated response from health and mental health providers.
High unemployment and limits to free expression make Kenyan youth frustrated with their politicians’ undelivered promises. Their perceived exclusion from political decision-making means popular culture and social media become outlets for their voice and self-definition.
On the one hand, youth are caught between childhood and adulthood, frequently finding themselves unrepresented in key areas of decision-making in politics and the workplace. On the other, their expanded understanding of the world they live in, increased educational opportunities, and access to global media mean they are discontent with this exclusion, unwilling to wait at the fringes of society as others define their lives. Instead, they take charge and seek to not only define themselves but also their society. Social media and popular culture thus become such important sites and platforms on which youth express themselves.
Language is a critical factor when adapting materials to a specific context and culture. The language used influences the level of reception and understanding of the curriculum content.
Using local languages to name the program and describe certain items enhances the participants’ reception of what is being presented to them.
The team linked the program name to the original Kumekucha program. But wanted to develop something that showed the youth elements of the program. Since the program is for young people 10-24 years old the brainstorming focused on issues for young people. Hope, connection, and intergenerational mentoring were themes. Both the Nairobi and the Kwale teams brainstormed and sent their notes to the artists who were listening in Nairobi.
Elvis, the artist, developed a sketch on the whiteboard that both locations really loved. The Layout Designer was also in the room and she then went and developed samples of the design.
First draft
Second draft
Third draft
Final
Here are some examples of the Kumekucha Quest curriculum that were created for the Kumekucha Quest, Watoto, and Vijana programs.
Kumekucha Quest Theme Song (Take a Breath/Pumua)
Participants review the different elements of the cycle of violence. In both the "hurting-self" and the "hurting-others" this is where one can see many everyday mental health issues being explored and explained from their own context. In many ways, this becomes a list of how people can tell when their friends, family, and neighbors are distressed and unwell. Participants explore through individual brainstorming all the different issues that they feel are a part of the painful cycle. Afterwards participants sort and group the ways people hurt themselves and others. Finally, they are ranked and prioritized. Lived experience is given space, as well as, what people observe in others in their daily lives.
The same is done for the "breaking free" element but categorized by truth-telling, forgiveness, justice, peace, and reconciliation.
We use illustrators and painters who paint using watercolors. They paint from their interpretation of the stories and definitions from the adaptation workshop. GSN has learned that graphic/computer-generated artwork does not have the same emotions as watercolor paintings. Involving the artists in the adaptation workshop is key.
Most images that people see and internalize today in Kenya about young people come from the newspapers and social media. There are very few positive images. Almost everything that people see about themselves and their context is about violence, destruction, and pain. Thus showing that there is already many positive and healthy practices that happen everyday in society is an important part of a strenth-based, healing-centered approach. It also shows that there are many things people do everyday to support their emotional and mental health.
Some of the visual images are extremely hurtful and envoke deep emotions due to the subject areas. The adaptation process participants note such images are a part of the truth-telling process of the violent and complex societies they live in. They felt including uncomfortable images is important as it documents the harsh realities of people's lived experiences. They note that such images are not re-traumaizing but instead are an important part of their healing process. They insist on difficult images in order for people to tell the stories in their hearts.