Category Archives: 300-word Intervention Proposal

Revised Proposed Intervention – A Code of Ethical Practice for participants of CCP Unit in collaboration with Polka Theatre: “Decolonising Folklore: A Review of Intersectional Approaches to Global Majority’s Folklore in Theatre Education”

Posted on by
Reply

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.

Proposed Intervention for Inclusive Practices in BA Acting and Performance and PhD Candidates in Transnational Voices

Posted on by
Reply

Introduction

This proposed intervention aims to foster inclusive practices regarding gender, sexual orientation, race, faith (or lack thereof), and disability within all years’ cohorts of the BA Acting and Performance and PhD candidates in Transnational Voices at CCW – UAL. The initiative focuses on decolonising the canon of bibliographic references, ensuring that the curriculum reflects diverse perspectives and experiences.

Objectives

  1. Diversify Bibliographic References: Include works from theoreticians, playwrights, and theatre practitioners from underrepresented groups to provide a broader spectrum of voices and narratives.
  2. Promote Intersectionality: Ensure that the curriculum addresses the interconnected nature of social categorizations and their impact on individuals’ experiences in the theatre.
  3. Foster Inclusivity: Create a learning environment that respects and celebrates diverse identities and experiences, thereby enriching the educational experience for all students.

Strategies

  1. Curriculum Review and Development: Conduct a thorough review of current bibliographic references. Identify gaps and include works by diverse authors, an initial (and surely never exhausting) list of key references, such as:
    • Gender and Sexual Orientation: Judith Butler, bell hooks, Rachel Hann and José Esteban Muñoz.
    • Race and Ethnicity: Frantz Fanon, Ngũgĩ wa Thiong’o, Lucy Sheen and Audre Lorde.
    • Faith and Secularism: Leila Ahmed, Amina Wadud, AC Grayling and Charles Taylor.
    • Disability: Petra Kuppers, Rosemarie Garland-Thomson, Robert McCruer and Rustom Bharucha.
  2. Workshops and Seminars: Organise workshops and seminars led by diverse theatre practitioners and scholars. These sessions will address topics such as decolonising theatre, intersectionality in performance, and inclusive pedagogical practices.
  3. Collaborative Projects: Encourage students to engage in collaborative projects that explore and represent diverse narratives. These projects will be guided by the principles of inclusivity and respect for all identities.
  4. Feedback and Evaluation: Implement mechanisms for continuous feedback from students and faculty. Regularly assess the impact of the intervention and make necessary adjustments to ensure its effectiveness.

Expected Outcomes

  • Enhanced Curriculum: A more inclusive and representative curriculum that reflects a diverse range of voices and perspectives.
  • Empowered Students: Students will gain a deeper understanding of intersectionality and its implications in theatre, leading to more thoughtful and inclusive performances.
  • Inclusive Learning Environment: A supportive and respectful environment where all students/researchers feel valued and included.

This intervention seeks to decolonise the canon of bibliographic references, ensuring that students in the BA Acting and Performance and PhD candidates in Transnational Voices at CCW provide an inclusive, intersectional, and enriching educational experience. By embracing diversity, we can foster a more equitable and representative theatre landscape.