The discourse on decolonisation in theatre practice has been a significant area of focus in recent years, driven by the need to challenge colonial narratives and promote more inclusive and equitable artistic endeavours. I will explore here the adaptation from my original project titled “Decolonising Folklore, Decolonising Practice: A Call to Action for Ethical Collaboration in Theatre Practice and Performance Making” to its revised iteration, with a particular focus on the creation of a Mini Decolonial Transnational Dictionary. This evolution represents a significant step forward in my investigation on inclusive and decolonial theatre practice, emphasising the importance of collaboration, cultural sensitivity, and community engagement.
The original project, as discussed in my reflective report for the Inclusive Practices, aimed to decolonise folklore and theatre practice by encouraging our students to approach storytelling through a decolonial lens, sought to challenge the dominant narratives perpetuated by colonialism and promote more authentic representation of marginalised communities. However, the project recognised the complexities of decolonisation, including the risk of tokenism and the need for genuine community engagement.
In examining the landscape of performance training, it is essential to position these practices within a framework of critical pedagogy, enabling practitioners and students alike to navigate the intricate layers of cultural representation, ethical collaboration, and empowered learning. I will attempt here to address the guiding questions of my reformulated project which are: how training practices can serve as a platform for critical pedagogy, how teaching methods can create choices for students, how language impacts liberatory practices, and how a pedagogic community of practice can be cultivated in the realm of performance training. Drawing upon the reflections and insights from the creation of the Mini Decolonial Transnational Dictionary as described in my Ethical Action Plan, I will outline these core components and their implications for our students at the School of Performance at all levels (PostGraduate Research – PGR, PostGraduate Taught – PGT and Undergraduates).
Positioning Training Practices as Critical Pedagogy
Critical pedagogy provides a lens through which performance training can be viewed not merely as the transmission of skills but as a transformative process that challenges existing power dynamics and promotes critical consciousness. Within the context of theatre education, training practices can be reframed to encourage students to critically engage with the themes, narratives, and ethical considerations inherent in their craft.
Incorporating elements of critical pedagogy involves recognising and dismantling the hierarchical structures that often pervade traditional teaching methodologies. By fostering an environment where students’ voices are valued and incorporated into the learning process, training practices can empower them to challenge societal norms and articulate their unique perspectives. Engaging students in discussions about cultural representation—particularly as it relates to decolonisation—can be integrated into the curriculum. This approach emphasises critical thinking and reflection, allowing students to question the narratives they encounter and the roles they embody.
For example, in creating the Mini Decolonial Transnational Dictionary, we mobilised the principles of critical pedagogy by incorporating multiple voices into the process, from different backgrounds and fields of study within performance research. The active involvement of PGR students in defining terms and concepts related to decolonial practices not only enriched the content but also aligned with critical pedagogical principles by encouraging collaboration, dialogue, and collective learning.
Enabling Choice Through Teaching Practices
The facilitation of choice in performance training is essential for fostering agency among students. When teaching methods adopt a student-centered approach, they allow learners to explore various pathways in their artistic expression. This empowerment can manifest in the selection of performance styles, the narratives they choose to engage with, and the cultural contexts they wish to explore.
By creating a curriculum that emphasises choice, educators can encourage students to take ownership of their learning. For instance, offering a diverse array of performance methodologies—such as improvisation, physical theatre, and verbatim performance—allows students to select approaches that resonate with their individual identities and cultural backgrounds. This flexibility not only enhances their engagement with the material but also empowers them to critically navigate the cultural implications of their work.
The approach I applied within the making of our Mini Decolonial Transnational Dictionary exemplifies how choice can be facilitated in performance training. By providing definitions and contextual insights of diverse terms rooted in various cultural practices, the PhD candidates were equipped with the conceptual and linguistic tools to navigate their journeys as artists. This resource will now enable them to make informed choices about their approach to performance, thereby enhancing their understanding of the ethical responsibilities that accompany cultural representation.
The Role of Language in Liberatory Teaching Practice
“One cannot expect positive results from an educational or political action program which fails to respect the particular view of the world held by the people.” FREIRE, Paulo.
Language serves as both a tool and a barrier in the context of liberatory teaching practices. The way we communicate concepts within performance training can either open doors to inclusive, empowering learning experiences or restrict students to narrow interpretations shaped by dominant narratives. Thus, language must be approached with intentionality and an awareness of its impact on equity and accessibility.
In a liberatory pedagogy, language should be used to create spaces where all students feel represented and heard. Incorporating terminology that resonates with diverse cultural backgrounds not only affirms students’ identities but also invites a broader understanding of performance. Moreover, utilising multiple languages within the training framework can celebrate linguistic diversity and promote cultural pluralism—an essential component in decolonising practices.
Conversely, the use of jargon or exclusive terminology can alienate students and undermine the ethos of liberatory education. If language becomes a gatekeeping mechanism, it hinders students from fully participating in and contributing to the learning process. In crafting the Mini Decolonial Transnational Dictionary, the aim here is to clarify definitions and ensure that students from various linguistic and cultural backgrounds can access the knowledge necessary for their growth as performers.
Building a Pedagogic Community of Practice for Performance Training
To cultivate a robust pedagogic community of practice, it is vital to create connections among educators, practitioners, and students invested in performance training. This community can serve as a supportive network that encourages collaboration, knowledge sharing, and collective engagement with decolonial practices.
Establishing such a community involves intentional outreach and involvement with diverse groups, including artists, scholars, and community leaders. By organising workshops, focus groups, and collaborative performances, practitioners can create space for dialogue and reflection on the ethical dimensions of their work. In these settings, individuals can share insights, discuss challenges, and collectively envision diverse possibilities for performance training.
The Mini Decolonial Transnational Dictionary emerges then as a resource for this community of practice, providing an accessible collection of terms and concepts that can facilitate ongoing discussions around cultural representation and ethical collaboration. This dictionary not only serves as a pedagogical tool but also as an invitation for continuous engagement and growth among practitioners. By fostering a collective understanding of the language and concepts central to decolonial practices, the community can drive meaningful change in the theatre landscape.
Conclusion
Positioning training practices within the framework of critical pedagogy allows for a transformative approach to performance education, emphasising agency, choice, and the importance of language. By prioritising student-centred teaching and actively involving diverse community voices, we can create a more equitable and empowering learning environment.
Furthermore, understanding language’s role in shaping liberatory teaching practices can lead to a more inclusive curriculum that resonates with all students. Finally, establishing a pedagogic community of practice cultivates a supportive network that envisions and implements decolonial approaches to theatre education.
As we progress in developing these pedagogical frameworks, our focus group efforts will not only enrich the experiences of students in performance training but also contribute to a more critical, thoughtful, and inclusive theatre landscape where diverse voices are celebrated and respected.
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