In the evolving discourse surrounding decolonisation within theatre practices, the implementation of a Mini Decolonial Transnational Dictionary represents an innovative and strategic approach toward fostering ethical collaboration in performance-making. This endeavour emerges as a direct response to a confusion with the terminology ‘Training’ within the Acting and  Performance Department, as well as to cultural complexities that arise in narrative construction, performance representation, and the implications of power dynamics in artistic processes. Here I will outline the motivations, methodologies, and frameworks guiding the creation of this dictionary, reflective of collaborative ethics, transnational sensibilities, and decolonial practice as outlined in my previous report on decolonising.

Motivations and Context

The urgency for a Mini Decolonial Transnational Dictionary stems from an attempt to reach clarity in communicating to our students to terms that are used in core texts and references throughout their courses within the School of Performance, and from the recognition of the critical gaps in cultural translation and representation within the contemporary theatre landscape. Traditional narratives often dismiss the voices of the communities they portray, perpetuating colonial legacies that actively marginalised indigenous and minority cultures.

This dictionary aims to provide a foundational resource that articulates key concepts, terminologies, and practices in a way that is accessible to theatre practitioners and audiences alike. By offering clear definitions and contextual insights, the dictionary serves as a tool for challenging Eurocentric narratives and embracing a more pluralistic understanding of performance making.

The need for ethical collaboration is paramount in this project. It involves not only recognising the historical injustices within cultural storytelling but also actively dismantling barriers that inhibit equitable input towards the building of knowledge. The dictionary aspires to foster dialogue and mutual understanding while establishing a shared language that facilitates respectful artistic narratives.

Methodologies: Community Engagement and Research

The methodology for creating the Mini Decolonial Transnational Dictionary rests on principles of co-creation and collaboration. Recognising that definitions may vary across cultural contexts, it was essential to involve diverse voices in the editorial process. This phase began with outreach to four PhD candidates who were approaching performance research from various backgrounds, ensuring that their insights and lived experiences directly informed the content of this dictionary.

They were approached directly, two of them are being supervised by me, and the other two were referred to me via their supervisors within the School of Performance. Their names are Ilenia Cipollari, Maria Cecilia Westphalen, Olga McRinici and Sophie Kabungo. Ilenia’s research is on the perspective of soundscape within performance; Cecilia’s is towards a collaborative and audience-participatory costume making process; Olga investigate transnational queer voices within contemporary European theatre; and Sophie studies the curation and exhibition of performance art and installations as forms of protest and/or disruption.

Conducting a workshop through focus group meetings within these communities allowed us to gather a rich repository of terminologies and conceptual frameworks relevant to their cultural practices. These sessions emphasised the significance of local languages, idioms, and expressions that might otherwise be overlooked in Western-centric academic discourses.

Incorporating a transnational perspective, we strove to compile entries reflecting terminology from our multiple backgrounds and research contexts, bridging gaps between different expressions of decolonisation in performance. Each entry in the dictionary was cross-referenced with existing literature on decolonial theory, cultural studies, and performance practice, promoting a well-rounded integration of perspectives. The words chosen for exploration on our initial workshop were divided into 5 sub-categories as follows:

• Decolonial Approaches to Performing Arts – words chosen were Decolonial, Postcolonial, and Neocolonialism.
• Actor Training – words chosen were Trained Actor, Performers in Training, and Actor Training Methods.
• Performance Making/Curating – words chosen were Curatorial Bias, Collaborative Processes, Non-Hierarchical Approaches.
• Dramaturgy – words chosen were Dramaturg, Dramaturgical Intervention and Story-telling.
• Melodrama – words chosen were Origins of Melodrama, Melodramatic Performance, and Contemporary Melodrama.

The words chosen reflect the complexities that each of those areas can bring within the area of theatre and performance studies. There were more subcategories and words that I studied and wanted to include, but given the time frame of the project, I thought better to focus on key themes that could find easy interconnectivity in order to foster more fluid debates.

Key Frameworks

Decolonial Pedagogy: The dictionary intends to function as a pedagogical tool for practitioners, facilitating a deeper understanding of the complex layers of cultural representation. Adopting a decolonial pedagogical approach emphasises critical engagement with dominant narratives and encourages transformative practices within theatre-making.

Intersectionality: Recognising that culture is not monolithic, the dictionary prioritises intersectional perspectives. It highlights how diverse identities, including race, gender, sexuality, and class, shape cultural narratives. The dictionary entries will address how varying social locations influence the interpretations and presentations of folklore and performance.

Ethics of Collaboration: At the heart of the dictionary project is a commitment to ethical collaboration. Each entry that defines collaborative practices emphasises respect for source communities, acknowledging their contributions to the narratives being shared. This ethical framework underlines the importance of obtaining informed consent from community representatives, adhering to principles of reciprocity and accountability.

Structure of the Dictionary

The Mini Decolonial Transnational Dictionary will consist of three core components:

Entries: Each term will be presented with a concise definition that is straightforward yet comprehensive, ensuring accessibility for a wide range of audiences. Accompanying each entry will be contextual explanations that illustrate its relevance within decolonial performance practices and the debate generated by them.

Examples: Real-world applications of the terms will be integrated into the definitions, showcasing their usage in actual performances or artistic interpretations. This feature will provide practitioners with practical insights into how these concepts can manifest in diverse contexts. Also, it will give readers/participants a chance to find further research material if they need to investigate the topic in more depth.

Collaborative Annotations: Engaging the contributors will have the opportunity to provide their annotations or reflections on the entries, enriching the dictionary with personal experiences and insights. These annotations will serve to humanise the terms, linking them to the communities and histories they represent.

Challenges and Considerations

Throughout the creation process, we encountered various challenges that impacted the development of the Mini Decolonial Transnational Dictionary. A prominent concern was navigating issues of representation accurately. Ensuring that the voices included were genuinely representative of the diverse cultural landscapes we sought to portray required critical reflection and an ongoing commitment to inclusivity.

Additionally, the question of ownership and authorship became a focal point. It was essential to recognise that cultural knowledge is often communal, residing within the fabric of communities rather than being attributed to individuals. This principle influenced our editorial decisions, positioning the dictionary as a collective creation rather than a singular authoritative text. This was brought to light as the participants were invited to participate – they were shown the Ethical Action Plan and the initial purpose of this Action Research Project; they were also assured that in case the project is to be continued or even published, they would be credited as co-authors and would have editorial participation throughout the process.

Moreover, balancing the intricate nuances of language while ensuring clarity and accessibility posed a creative challenge in crafting the entries. Language is not static, and evolving cultural contexts necessitate flexibility in how terms are defined and utilised. This dynamic nature of language reflects the ongoing conversation around decolonisation and the importance of adapting to shifting cultural landscapes.

Lastly, the convening of PGR students was proven a lot more difficult than expected, and we had to reschedule our sessions several times. In the end, I found a compromise allowing sessions to be hybrid or fully online, which increased participation. Contributing to that, the creation of the MSTeams group and the upload of the MDTV as an open document on the University’s Cloud, allowed for a more dynamic way for participants to engage with data and resources as they were being shared.

The [Expected] Impact of the Dictionary

Implementing the Mini Decolonial Transnational Dictionary in performance practice has the potential to catalyse a broader transformation in how theatre is created, understood, and appreciated. By equipping research-practitioners with a nuanced vocabulary, the dictionary invites deeper engagement with themes of power, representation, and identity within performance. 

As these research-practitioners adopt the language and concepts articulated in the dictionary, we anticipate a ripple effect throughout the School of Performance. This shift can encourage more ethical collaborations, leading to the creation of performances that authentically reflect the stories and experiences of marginalised communities. Ultimately, the dictionary aspires to contribute towards a reimagined theatre landscape that celebrates cultural diversity rather than homogenisation.

Conclusion

The creation of the Mini Decolonial Transnational Dictionary marks a pivotal moment in the journey toward ethical collaboration and meaningful engagement within the theatre community. It serves as a response to the urgent need for a shared language that transcends cultural boundaries and facilitates discussions around decolonisation, representation, and artistic practice. 

Grounded in principles of community engagement, intersectionality, and ethical reflection, the dictionary represents a collaborative effort that honors the voices and experiences of marginalised communities while challenging existing power dynamics in cultural storytelling. As we move forward, the Mini Decolonial Transnational Dictionary aspires to be a living resource that evolves alongside its contributors and users, catalysing ongoing dialogue and transforming the theatre landscape toward inclusivity, equity, and respect for cultural diversity.

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