Category Archives: Action Research Project

Appendix: Supporting images, recording + transcripts of meetings, final slides and documentation of the process

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5 subcategories and the notes generated from our first session/workshop

ARP Files – Dr. Almiro Andrade PGCert 2024-25
Share Point Folder containing:
– Supporting images
– Email correspondence between participants including invitation to participate in the project.
– Power Point Slides
– ARP Folders created during workshop session in 13.11.2024 exhibited in supporting image, transcribed into a Word document
– Ethical Action Plan as approved by supervisors

Action Research Plan – Development of a Mini Decolonial Transnational Dictionary for Acting and Performance-20241113_144023-Meeting Recording.mp4
Recording and transcript of first meeting on 13.11.2024
Attendees: Almiro Andrade, Ilenia Cipollari, Maria Cecilia Westphalen, Olga MacRinici.

Mini-Decolonial Transnational Dictionary MDTD.docx
Live document created out of the ARP Folders from workshop – the frame of our Mini Decolonial Transnational Dictionary for Performance Studies

Follow-up session Action Research Plan – Development of a Mini Decolonial Transnational Dictionary for Acting and Performance-20241209_144349-Meeting Recording.mp4
Recording and transcript of follow-up meeting on 09.12.2024
Attendees: Almiro Andrade, Maria Cecilia Westphalen, Sophie Kabangu.

Reflection on the Creation of the Mini Decolonial Transnational Dictionary for Performance

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The creation of the Mini Decolonial Transnational Dictionary represents an essential step in restructuring how performance studies engage with decolonisation. This project not only reflects a keen attunement to the complexities of cultural exchange and representation in theatre but also serves as a vital pedagogical tool for the challenges observed in our School of Performance. This reflection explores the rationale for the chosen methodologies, summarises the project’s findings, and examines how these align with relevant literature in the broader context of decolonial studies in performance. 

Rationale for Research Methods

The methodological approach for the development of the Mini Decolonial Transnational Dictionary was primarily rooted in community engagement (at the moment, targeting the PGR community), co-creation, and a firm ethical framework. The project’s design called for active participation from early-career researchers with diverse cultural backgrounds. This inclusive approach was crucial for developing a resource that genuinely reflects the multiplicity of voices and experiences within the theatre community.

The decision to involve PhD candidates with varying research foci allowed for a rich tapestry of perspectives. I include myself in this diverse group of researchers, as our positionalities as academics and practitioners were the starting point of the work we proposed to do. By embracing this heterogeneity, all of us dictionary-makers could explore the nuances inherent in performance terminology, reflecting a non-homogenous understanding of cultural narratives. This aligns with the thoughts explored by Bhambra (2014), who argues for interconnected understandings of social realities that acknowledge the significance of diverse voices.

“Focus group interviews are particularly useful for exploring complex issues and gaining a deeper understanding of a particular phenomenon.” Vaughn (2013) p. 23

Incorporating focus group methodologies allowed the team to gather a wide array of terminologies and conceptual frameworks grounded in our lived experiences rather than traditional Western academic norms. Each workshop engaged participants in discussing terminologies relevant to their artistic practices while acknowledging the need for cultural specificity. The goal was not to create a singular definition, but to present a series of triggers for debate, that questions preconceived notions and absolute definitions, which can be quite limiting and not allow for questioning or updating as new information can be added onto it. As Spivak (1988) suggests, the complexities of voice and representation must be critically examined, and this collaborative structure exemplifies such scrutiny.

For instance, in the Melodrama sub-category, the group’s consensus was that none of them had been introduced to a timeline or overview of origin to Melodrama. This was evident in Olga’s reaction during the workshop, where she noted, “I missed my theatre history lessons on melodrama, but I know that Romanian playwrights are good at it!” This anecdote corroborates McAteer’s (2013) assertion that “the key to successful action research is to focus on the process of learning, rather than just the outcome“, highlighting the importance of prior knowledge and the need for contextual understanding in this context (also reflected in Alonson and Le’s (2020) research on transcending ideologies in bilingualism).

Moreover, the dictionary’s focus on positionality and intersectionality serves to deepen the analysis of cultural narratives in theatre. This methodological choice reflects the commitment to an action-oriented practice that acknowledges the intricacies of identity formation and representation in artistic contexts. The inclusion of terms that address power dynamics, such as “Curatorial Bias” and “Dramaturgical Intervention,” exemplifies the project’s alignment with postcolonial critiques, acknowledging that all performance practices are situated within larger socio-political frameworks.

Summary of Project Findings

The Mini Decolonial Transnational Dictionary was designed as a resource that articulates key concepts related to decolonial practice in the performing arts. The entries were divided into subcategories—Decolonial Approaches, Actor Training, Performance Making/Curating, Dramaturgy, and Melodrama—reflecting significant themes in contemporary theatre studies. 

One of the most important findings was the recognition of the diverse interpretations of common terms across cultural contexts, which challenges the Eurocentric foundations of theatre education. For instance, the term “trained actor” varies vastly in significance depending on sociocultural backgrounds, calling into question traditional models of performance training. This finding parallels the work of Gonzalez & Marquez (2020), who argue for the necessity of decolonising educational frameworks to ensure inclusivity.

Furthermore, the dictionary aims to embody a collective ethos by crediting contributors, thus blurring the lines of authorship and ownership in the creation of knowledge. This principle is essential, as it emphasizes the communal nature of cultural narratives. By positioning the dictionary as a living document enriched by annotations from various contributors, the project acknowledges and celebrates the collective memory and identities of marginalised communities, aligning with the idea of ethical collaboration put forth by Alter (2016).

Another critical finding concerned the inherent challenges of representing diverse voices accurately. Issues surrounding representation necessitated robust discussions throughout the editorial process, leading to an ethical framework encompassing informed consent and collaboration. This aspect was proven particularly challenging given the very limited timeframe of this project, and the availability of all five participants (including mine) to meet and discuss. Despite thorough communication being continued via email and MSTeams group, we only had two organised sessions – one for the initial workshop and debate of topics, and a second to reflect on the editorial choices and any further collective input. I wanted to make sure the document produced would be reflective of all of the participants’ voices and knowledge exchange processes. This reflection on representation echoes the ongoing dialogue in decolonial theory which proposes a shift from viewing knowledge as individualistic, moving it toward a communal perspective.

Reflection on Theoretical Frameworks 

The Mini Decolonial Transnational Dictionary’s relevance is amplified by its grounding in theoretical frameworks such as decolonial pedagogy and intersectionality. By adopting a decolonial pedagogical approach, the dictionary serves as a model for educating future theatre practitioners on engaging with layers of cultural representation, resonating with the pedagogical insights of Friedman (2017). A broader application of these frameworks not only fosters awareness about the impact of colonial legacies on contemporary artistic practices, but also encourages transformative approaches that integrate previously silenced voices. Notably, the serendipitous outcome of this study’s participant demographics, where participants who identified as queer or female were over-represented, underscored the importance of intentionally creating a space for marginalised voices to be heard and for knowledge to be co-produced in an inclusive way. This happy coincidence highlights the need to design methodologies that deliberately centre the perspectives of those who are often marginalised or excluded, thereby producing richer and more nuanced understandings of cultural representation and performance.

The emphasis on positionality and intersectionality helps clarify how multiple identities influence cultural interpretations and performance dynamics. As the dictionary outlines terms relevant to specific cultural and social contexts, it responds to the multifaceted nature of identity formation and representation in artistic pursuits. It reinforces the arguments presented by Taylor (2003), who contends that performance constitutes a means of negotiating cultural memory, thus making a compelling case for decolonising performance methodologies.

Moreover, the nuances intrinsic to the chosen terms serve as a mirror reflecting broader societal dynamics. This correspondence with the academic discourse on representation holds significant implications for the future of theatre-making practices. As practitioners adopt the language of the dictionary, they become empowered to engage more critically with the themes of power, identity, and representation within their own work, potentially sparking a transformative ripple effect throughout the School of Performance.

Conclusion: Implications for Future Research and Practice

The Mini Decolonial Transnational Dictionary is not merely a defined collection of terms; it represents a strategic intervention in the field of performance studies, encapsulating the urgency for decolonisation and ethical collaboration. The dictionary aspires to act as a foundational resource, transcending disciplinary boundaries and fostering an inclusive dialogue within the theatre community.

Moving forward, the dictionary can serve as a platform for ongoing discussions around terminology, representation, and cultural practice. Its interactive and evolving nature invites contributors and users alike to continuously engage with and adapt the content, ensuring its relevance in an ever-changing sociocultural landscape. Furthermore, it challenges theatre practitioners to adopt a more critically aware practice, one grounded in intersectional and decolonial principles.

In closing, the need for such resources continues to grow as the theatre community grapples with the implications of colonial histories. As this project unfolds, it is imperative to monitor its impact and adapt to the ongoing shifts in cultural discourse. Ultimately, the Mini Decolonial Transnational Dictionary aims to emerge not only as an educational tool but as a companion resource that champions ethical performance practices and a more inclusive theatre landscape.

References:

ALONSON, L. and LE, K. (2020) ‘The Language Warriors: Transcending ideologies on bilingualism in education.’ Action Research, 0(0), pp.1–21. DOI:10.1177/1476750320931155.

ALTER, N. Performance and the Politics of Freedom and Fear. TDR: The Drama Review, vol. 60, no. 2, 2016, pp. 18-33.

BHAMBRA, Gurminder K. Connected Sociologies. London: Bloomsbury Academic, 2014.

FRIEDMAN, Susan Stanford. Minding the Gap: Feminism, Transformative Critical Literacy, and Education. Teaching Educational Psychology, 2017.

GONZÁLEZ, M. S., & Marquez, D. “De-Colonizing the Body, Land, and Politics: Intervention, Response, and the Code of Ethics.” In Decolonizing the Academy: Interventions in the Academy. University Press of Colorado, 2020.

IPEK, Ö.F. and KARAMAN, A.C. (2020) ‘Systemic Change in a Higher Education Institution: Inquiring into Organizational and Instructional Transformation’, Systemic Practice and Action Research, 34, pp. 109-125. https://doi.org/10.1007/s11213-019-09516-6.

MCATEER, M. (2013) Action Research in Education. London: Sage. https://methods-sagepub-com.arts.idm.oclc.org/book/action-research-in-education (Accessed: 10 June 2024).

REVANS, R. (1982) Origins and Growth of Action Learning. Bromley: Chartwell-Bratt Ltd.

SMITH, L.T. (2012) Decolonising Methodologies, research and indigenous people. London: Zed Books.

SPIVAK, Gayatri Chakravorty. “Can the Subaltern Speak?” In Marxism and the Interpretation of Culture, edited by Cary Nelson and Lawrence Grossberg. Urbana: University of Illinois Press, 1988.

TAYLOR, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.

TUCK, E. & WAYNE YANG, K. (2012) ‘Decolonization is not a metaphor’. Decolonization: Indigeneity, Education & Society, 1(1), pp. 1‐40. Available at: https://clas.osu.edu/sites/clas.osu.edu/files/Tuck%20and%20Yang%202012%20Decolonization%20is%20not%20a%20metaphor.pdf (Accessed: 10 June 2024).

VAUGHN, S., SCHUMM, J.S. and SINAGUB, J. (2013) ‘Why Use Focus Group Interviews in Educational and Psychological Research?’, in Focus group interviews in Education and Psychology. Thousand Oaks: Sage. https://methods-sagepub-com.arts.idm.oclc.org/book/focus-group-interviews-in-education-and-psychology/n2.xml (Accessed: 10 June 2024).

The Creation of the Mini Decolonial Transnational Dictionary for Performance

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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.

References

ALTER, N. Performance and the Politics of Freedom and Fear. TDR: The Drama Review, vol. 60, no. 2, 2016, pp. 18-33.

BHAMBRA, Gurminder K. Connected Sociologies. London: Bloomsbury Academic, 2014.

CHIMANIKIRE, M. & Muya, M. “Reconstructing Theatre: A Decolonial Approach to Performance.” Performing Ethos, vol. 3, no. 1, 2017, pp. 75-92.

FRIEDMAN, Susan Stanford. Minding the Gap: Feminism, Transformative Critical Literacy, and Education. Teaching Educational Psychology, 2017.

GONZÁLEZ, M. S., & Marquez, D. “De-Colonizing the Body, Land, and Politics: Intervention, Response, and the Code of Ethics.” In Decolonizing the Academy: Interventions in the Academy. University Press of Colorado, 2020.

MIGNOLO, Walter D. The Darker Side of the Renaissance: Literacy, Territory, and Colonization. Ann Arbor: University of Michigan Press, 1995.

NISHIKAWA, K. “Reimagining Performance: The Impact of Decolonization on Theatre Practice.” Theatre Journal, vol. 70, no. 3, 2018, pp. 423-442.

SHAH, Y. Decolonization and Performance: Theatre at the Crossroads of Cultures. New York: Routledge, 2020.

SPIVAK, Gayatri Chakravorty. “Can the Subaltern Speak?” In Marxism and the Interpretation of Culture, edited by Cary Nelson and Lawrence Grossberg. Urbana: University of Illinois Press, 1988.

TAYLOR, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.

Reframing Training Practices in Theatre: A Critical Pedagogy Perspective

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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.

References:

AHMED, S. (2006). Queer Phenomenology: Orientations, Objects, Others. Duke University Press.

BOAL, A. (2008). Theatre of the oppressed. Theatre Communications Group.

CRENSHAW, K. W. (2017). On Intersectionality: Essential Writings. The New Press.

FREIRE, P. (2000). Pedagogy of the oppressed. Bloomsbury Publishing.

HOOKS, b. (1992). Black Looks: Race and Representation. South End Press.

HOBGOOD, B.M. (1987). The Mission of the Theatre Teacher. Journal of Aesthetic Education, 21(1), 57–73. https://doi.org/10.2307/3332813 (Last access – 04.03.2024)

LORDE, A. (1984). Sister Outsider: Essays and Speeches. The Crossing Press.

METZGER, S. (2019). Race in Performance (at Oxford Research Encyclopedia). https://doi.org/10.1093/acrefore/9780190201098.013.101

YOUNG, H. (2013). Theatre & Race (at Theatre &… book series), Bloomsbury Publishing, London.

ARP 2024-5: Ethical Action Plan

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Name of practitioner-researcher: Dr. Almiro Andrade

What is your project focus? (Research Question. Direction in which your project will be presented and actioned. (i.e consciousness raising, awareness for who/whose awareness is needed, who will need to be engaged for those changes to take place and will they need to understand prior to engaging with the project.)  
My Research will focus on the increasingly Transnational landscape of Theatre Performance artists in the UK which is reflected in both our UG and PG student cohorts, and its impact on the multitude of meaning descriptors/words carry when used in translation or in further exemplifying of contemporary approaches.   The problems arising from this unstable vocabulary go beyond simple misunderstandings, as they show deep roots in colonial approaches to academic knowledge and hold the prejudices of a white anglophone hegemony which causes different ethnical and cultural approaches to be cast as ‘other’.   For this, I will conduct a practical workshop with PGR and PGT students from WCA, who are already challenging the aforementioned hegemony in the development of their practice, in order to investigate the problems in the contextual use of heavy-loaded concepts in performance such as ‘training’, ‘method’, ‘technical support’, ‘conservatoire’, amongst many others and perhaps expand on the suggestion of a new common vocabulary that is radically inclusive, open, and self-aware.   Participants will need to have a prior knowledge of UG terms in performance and be in the development stages of research into their own approaches and practice – hence the choice of selecting PG students and not UG. The aim is to create a Mini-Decolonial Transnational Dictionary (MDTD) in order to address the issues mentioned above.      
   
What are you going to read about? What literature and thinkers will you be engaging with. (i.e. books, essays, video-lectures, interviews, performance, etc.)  
References:
FREIRE, P. (1968). Pedagogy of the oppressed. Bloomsbury Publishing.
MEECHAM, P. (2015) ‘Talking about things: Internationalisation of the curriculum through object-based learning’, in H Chatterjee & L Hannan (eds) Engaging the senses: Object-based learning in higher education, Routledge, New York: pp.66-81
HOBGOOD, B.M. (1987). The Mission of the Theatre Teacher. Journal of Aesthetic Education, 21(1), 57–73. https://doi.org/10.2307/3332813 (Last access – 04.03.2024)
BOAL, A. (2008). Theatre of the oppressed. Theatre Communications Group.
CAVALLO, Amelia. The Art of Passing. Exeunt Magazine – May 2014 https://exeuntmagazine.com/features/the-art-of-passing/
MCCRUER, Robert. Crip Theory: Cultural Signs of Queerness and Disability. NYU Press 2006 YOUNG, Harvey. Theatre & Race (at Theatre &… book series) , Bloomsbury Publishing (2013) London.
METZGER, Sean. Race in Performance (at Oxford Research Encyclopedia – 2019)
https://doi.org/10.1093/acrefore/9780190201098.013.101
FINCH, Supryia. So, Cambridge Theatre has a race problem. What Now? (to Varsity – 2023)
https://www.varsity.co.uk/theatre/25932#:~:text=Her%20biggest%20piece%20of%20advice,or%20you%20can%20abandon%20tradition
AHMED, S., & SWAN, E. (Eds.). (2013). Queer Visibility in Postmodern Drama: Representations of Genders and Sexualities on Stage. Palgrave Macmillan.        
What action are you going to take in your teaching practice?  
Theatre performance is often characterised by inconsistent epistemologies, arising from diverse cultural contexts, historical narratives, and aesthetic philosophies. These inconsistencies can lead to fragmented understandings of performance, marginalising voices and perspectives that do not conform to dominant paradigms.   The creation of a Mini-Decolonial Transnational Dictionary (MDTD) aims to bridge these gaps by facilitating dialogue across cultural boundaries and challenging colonial legacies ingrained in theatrical practices. This vocabulary encourages the integration of indigenous and ethnic minorities’ narratives, methodologies, and aesthetics, allowing for a more inclusive and collaborative approach to performance. By prioritising the nuances of different cultural epistemologies, artists and scholars can foster a richer, more holistic theatrical experience.   The action will take shape in two parts: One 3-hour dramaturgical session with 3 or 4 PGR students from different strands of research in acting and performance or design for performance. This session will consist of 1-hour work on the key elements or heavy-loaded words that should be addressed in this dramaturgical exercise; the 2nd hour will consist of the individuals placing the words chosen in relationship to one another, investigating how they question their meanings; the last hour will entail in the creation of the MDTD manifesto that will take the form of a shareable document.Dissemination of document produced in the PGR session with PGT students, alongside a questionnaire that will guide them on the analysis and further use of the MDTD manifesto on their learning journey and future practice.   Such an approach not only validates marginalised perspectives but also enriches the global theatrical landscape, promoting a re-examination of power dynamics within performance. Ultimately, MDTD will serve as a means to reclaim agency, ensuring that diverse narratives can coexist and thrive within the performance-teaching and performance-making landscapes.  
Who will be involved and how?  
3 or 4 PGR and 3 different PGT student-cohorts from WCA. None of them will be under the age of 18.      
What are the health & safety concerns, and how will you prepare for them?  
When conducting workshops with Postgraduate Research (PGR) and Postgraduate Taught (PGT) students to create a decolonial transnational vocabulary, it’s essential to establish clear guidelines for the retention and use of collected information and any health and safety concerns that may arise from it.  

Duration of Information Retention: The data gathered during workshops can be retained for a period of three months after the completion of the action research project. This timeframe allows for thorough analysis and incorporation of insights into the final project submission.  
Purpose of the Data: 1. Academic Research: The insights will inform our future scholarly work, contributing to articles, presentations, or other academic outputs.
2. Curriculum Development: Findings may shape educational materials or methodologies within theatre studies and related fields.
3. Community Engagement: The data could support outreach initiatives aimed at fostering greater understanding of decolonial practices in theatre and performance outside academia.  
Separation of Information: – Participant Data: This includes any personal identification, demographic information, and specific comments or experiences shared during the workshop. This data will be anonymised to ensure individual privacy is maintained. It will be stored securely and will not be included in the main findings unless participants explicitly consent to its use.
– Main Data for Analysis: General themes, vocabulary suggestions, and collective insights can be extracted and analysed without revealing individual contributions. This data will be used to assess trends and generate meaningful conclusions from the workshops.  
Awareness and Access: Participants will be informed upfront about how their contributions may be used and who will have access to the data. Access will be limited to me as the workshop facilitator and researcher; to my direct cohort colleagues, who may share discussions, and to the ARP tutors. Participants will be given the option to withdraw their contributions at any point during the data collection and analysis process.   By maintaining transparency and respecting participant privacy, I believe we can effectively use the gathered information for constructive academic and community-building purposes.    
How will you protect the data of those involved?What will be done in order to protect the participants’ data (i.e. raw data destruction, access to selected data being restricted/controlled, etc.)    
As mentioned above, I intend to take all possible measures in order to protect the participant’s personal data through the use of restricted access (in case of blog posting) and raw-data destruction when necessary.  
How will you work with your participants in an ethical way?Time keeping, consent forms, engagement, etc.  
I intend to create a Teams group where participants can start collating articles and interesting data they would like to bring to the discussion and where I can also share material for reading with them.   After the introductory and exchange of prior knowledge I aim to set up a 3-hour workshop where I will facilitate discussions amongst participants, engage in practical exercises and produce a concise version of vocabulary that will arise from those. Consent forms will need to be signed prior to the student’s engagement with this project. Their contribution will be acknowledged, and I truly hope this sparks good contribution for approaches on their future as researchers, academics and practitioners.