Ruthven Jessica S
a School of Public Health, Faculty of Health Sciences , University of the Witwatersrand , Johannesburg , South Africa.
b Department of Anthropology , Washington University in Saint Louis , Saint Louis , MO , USA.
AIDS Care. 2016;28 Suppl 4:72-82. doi: 10.1080/09540121.2016.1195485. Epub 2016 Jun 16.
In South Africa, health promotion related to HIV/AIDS has been characterised as a component of public health prevention. It has heavily utilised global health ideology to construct promotional messages that rely on neoliberal models of individual, responsible health citizenship. However, after nearly 30 years of public health messaging, there have been only minor shifts in the country's HIV prevalence rates; it has become apparent that there is disconnect between policy, programmes, and target audiences. Debates about where this disconnect occurs tend to focus on the role of problems in biomedical knowledge translation or with structural inequalities that lead to health inequity. As debates increase, artists involved in health have emerged to address an additional reason: audience interpellation. In this article, I interrogate relationships between health promotion ideology and processes of interpellation. I suggest that disconnect between the two has roots in the tone of programming, the ways sociality is constructed within health promotion, and the kind of subject which global prevention programmes seek to constitute. Using a case study, I illustrate how public health ideology is made actionable through arts practice. While conventional health promotion programmes address populations in a way that allows individuals to distance themselves, members of South Africa's arts sector have worked to integrate prevention and care in a way that bolsters interpellation through making messages personal. The case study presents one performance but is informed by my broader research with over 20 theatrical groups conducted during 18 months of fieldwork. Analysis of the production reveals that artists act as mediators between population-level public health messages and individuals through the embodied technologies of applied theatre. However, I argue that artists also create space for participants to reimagine configurations of care, responsibility, and intimacy within health practices.
在南非，与艾滋病毒/艾滋病相关的健康促进被视为公共卫生预防的一个组成部分。它大量运用全球健康理念来构建宣传信息，这些信息依赖于新自由主义的个人责任健康公民模式。然而，经过近30年的公共卫生宣传，该国的艾滋病毒感染率仅有微小变化；显然，政策、项目与目标受众之间存在脱节。关于这种脱节发生在哪里的争论往往集中在生物医学知识转化中的问题，或者导致健康不平等的结构性不平等的作用上。随着争论的增加，参与健康领域的艺术家们站出来指出了另一个原因：受众召唤。在本文中，我审视了健康促进理念与召唤过程之间的关系。我认为两者之间的脱节根源在于项目的基调、健康促进中社会性的构建方式，以及全球预防项目试图塑造的主体类型。通过一个案例研究，我说明了公共卫生理念如何通过艺术实践变得可操作。传统的健康促进项目以一种让个人置身事外的方式对待人群，而南非艺术界的成员则努力将预防和护理整合起来，通过使信息个性化来加强召唤。该案例研究呈现了一场演出，但它基于我在18个月的实地调查期间对20多个戏剧团体进行的更广泛研究。对该作品的分析表明，艺术家通过应用戏剧的具体技术，在人群层面的公共卫生信息与个人之间充当调解人。然而，我认为艺术家还为参与者创造了空间，让他们在健康实践中重新想象护理、责任和亲密关系的配置。
