To start, there was a sense, even from participants with less exposure, that SASA! was a visible part of the fabric of the community. This ‘observability’ was evidenced by how participants noted “seeing people talking about it,” referenced those “who are active in it” and “put up posters” and described how “when you come back in the evening they [neighbours/family] will tell you that the SASA! team was here.”(1 M). There was a strong sense of collective engagement in SASA! illustrated in the way participants often discussed their participation as a community, rather than individual endeavour. For example, similar to this participant, when asked about their personal engagement with SASA! many responded using “we” language and spoke about it as a community endeavour: “All the women here attended...we went together”(1F). Both the awareness of SASA! activities and talk among community members stimulated curiosity and motivated attendance. For example, one participant described how his curiosity was piqued after hearing talk about SASA! in the community and led him to attend his first drama:Interviewer: When you heard that there was a SASA! activity, what did you think about that?Participant: “I had to know the meaning of SASA!, [people] would say that there are SASA! dramas there, and then I would ask myself that what is SASA!? Is it a drama? That prompted me …they had even told us that Nandujja [popular traditional dancer] was coming, she was the first one to come. I decided to go and watch her, when she finished then they brought a drama.” (5 M).