This book explores the diverse alternative communication modes that development communicators could employ to engender horizontal communication among the poor in developing countries. It examines the ideological currents that drive development communication practice and calls attention to the gap between the theory and practice of the discipline in developing countries. Using illustrations from Central Nigeria, the book highlights the potency of indigenous theatre aesthetics as people-centred communication channels which could mainstream the cultural identity and aspirations of the marginalised majority in Africa, Asia and Latin America. Unlike other channels of communication, indigenous theatre aesthetics are participatory, cheaper, and accessible to the majority of the people. Messages from these indigenous channels are also more credible and less susceptible to misinterpretations. The book advocates a rethink of the concept of community participation in development initiatives vis-a-vis concerns of ownership, cultural relevance and sustainability. This book is a must read for scholars and practitioners in development/cultural studies, theatre arts, communication and the general reader

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