As the School of Performance and Polka Theatre embark on a collaborative unit exploring global majority’s folklore, it is essential to approach this topic through a decolonial lens. Decolonisation is a critical process that involves recognising and challenging the dominant narratives and power structures that have historically marginalised global majority cultures. In this review, we will explore how to approach global majority’s folklore through an intersectional lens, considering the complex interplay of race, gender, faith, disabilities, and other protected characteristics.
Firstly, it is crucial to acknowledge that folklore is not just a collection of stories but is deeply embedded in the cultural practices and traditions of global majority communities. Therefore, it is essential to centre the voices and perspectives of these communities in our exploration of their folklore. This can be achieved by collaborating with community members, artists, and scholars from global majority backgrounds to co-create the content and direction of the project.
Secondly, we must recognize that folklore is often tied to issues of power, colonialism, and oppression. Global majority cultures have been systematically erased, silenced, or manipulated to serve the interests of dominant cultures. As such, it is crucial to approach folklore with a critical eye, acknowledging the historical and ongoing impact of colonialism on these cultures.
Thirdly, intersectionality is a crucial framework for understanding the complex ways in which global majority cultures intersect with other forms of identity. For example, a woman from a South Asian diaspora community may experience racism, sexism, homophobia, and ableism simultaneously. A decolonial approach to folklore must consider these intersecting forms of oppression and how they shape the cultural practices and traditions being explored.
To achieve this, we recommend the following strategies:
- Centring marginalised voices: Involve community members and artists from global majority backgrounds in the creative process to ensure that their perspectives are represented.
- Decolonizing the narrative: Challenge dominant narratives and power structures by highlighting the historical and ongoing impact of colonialism on global majority cultures.
- Intersectional analysis: Consider how multiple forms of oppression intersect to shape cultural practices and traditions.
- Cultural humility: Approach global majority cultures with respect, empathy, and humility, recognising the limits of one’s own knowledge and understanding.
- Community engagement: Engage with community members and organisations to ensure that the project is culturally sensitive and relevant.
In conclusion, approaching global majority’s folklore through a decolonial lens requires a nuanced understanding of the complex power dynamics at play. By centering marginalised voices, decolonizing narratives, intersectional analysis, cultural humility, and community engagement, we can create a more inclusive and respectful exploration of global majority cultures.
References:
Young, H. (2013). Theatre & Race. Bloomsbury.
Ahmed, S. (2006). Queer Phenomenology: Orientations, Objects, Others. Duke University Press.
hooks, b. (1992). Black Looks: Race and Representation. South End Press.
Lorde, A. (1984). Sister Outsider: Essays and Speeches. The Crossing Press.
Ahmed, S., & Swan, E. (Eds.). (2013). Queer Visibility in Postmodern Drama: Representations of Genders and Sexualities on Stage. Palgrave Macmillan.
By adopting a decolonial approach to global majority’s folklore in theatre education, we can create a more inclusive and respectful exploration of cultural practices and traditions. This will ultimately contribute to a more equitable representation of global majority cultures on stage and help challenge dominant narratives about diversity and inclusion in the arts.