Relevant bibliographies by topics / Drama in intercultural education

Academic literature on the topic 'Drama in intercultural education'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Drama in intercultural education"

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Fleming, Michael (Michael P. ). "Justifying the Arts: Drama and Intercultural Education." Journal of Aesthetic Education 40, no. 1 (2006): 54–64. http://dx.doi.org/10.1353/jae.2006.0006.

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Fleming, Mike. "Justifying the Arts: Drama and Intercultural Education." Journal of Aesthetic Education 40, no. 1 (April 1, 2006): 54–64. http://dx.doi.org/10.2307/4140217.

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Donelan, Kate. "Engaging with the Other: Drama, and Intercultural Education." Melbourne Studies in Education 43, no. 2 (November 2002): 26–38. http://dx.doi.org/10.1080/17508480209556400.

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Kondoyianni, Alkistis, Antonis Lenakakis, and Nikos Tsiotsos. "Intercultural and lifelong learning based on educational drama." Scenario: A Journal of Performative Teaching, Learning, Research VII, no. 2 (July 1, 2013): 28–48. http://dx.doi.org/10.33178/scenario.7.2.3.

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This paper is an attempt to propose multidimensional research projects and therefore it is addressed to researchers and theatre/drama-pedagogues. Our principal aim of this paper is to suggest ways to investigate the role of drama both as a methodology in itself in the fields of education and lifelong learning, and as a means suitable for implementation in many other arenas. Our focus on alternative dramatic forms such as puppetry, dramatised narration and creative writing in role, enhances the implication of a rather broad spectrum of prospective participant groups beyond students, such as immigrants, prison convicts and the elderly. We also aim at the facilitation of the involvement of all people who seek ways of improving their professional competence and who could benefit from the implementation of drama techniques in workplaces such as museums, public libraries, and in some sectors of the tourism industry. We firmly believe that the role of educational drama deserves to be consolidated in many areas of social science and social work.
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Stinson, Madonna. "Speaking up about oracy: the contribution of drama pedagogy to enhanced oral communication." English Teaching: Practice & Critique 14, no. 3 (December 7, 2015): 303–13. http://dx.doi.org/10.1108/etpc-07-2015-0055.

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Purpose – The purpose of this paper is to consider the growing interest in oracy and to propose the pedagogy of process drama as an ideal model for the dialogic classroom. Design/methodology/approach – This paper takes the form of an explanatory case study where the author draws on a successful drama/oracy project in a primary school in Brisbane, Australia, to illustrate the connections between Alexander’s five indicators of a dialogic classroom and the process drama in which the students participated. Findings – The application of this process drama as pedagogy for the teaching and learning of oracy has contributed positively to students’ oral communication skills and intercultural awareness. In addition, parents provide positive feedback about student engagement in school and developing self-confidence because “they have something to say”. Research limitations/implications – There was no formal pre-post test for the oral communication skills on this study, instead the researchers developed a draft “oracy” checklist which deserves further interrogation and development. Practical implications – There are implications for the use of process drama as a means of creating and sustaining the dialogic classroom. Teacher professional development would be required to assist the planning and delivery of dramas that allow for the deep and complex learning evidenced in this study. Social implications – This is an ideal vehicle for assisting in the development of empathy, collaboration, emotional intelligence and intercultural understanding. Originality/value – This is an example of an extremely high-quality curriculum plan and implementation. The importance of engaging in implicit and explicit instruction of oral communication for the twenty-first century should not be underestimated. The process drama allows oral language to be foregrounded, with additional learning opportunities from a range of other learning areas, brought together in a coherent and complex model of practice.
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Donelan, Kate. "Drama as Intercultural Education: An Ethnographic Study of an Intercultural Performance Project in a Secondary School." Youth Theatre Journal 24, no. 1 (April 29, 2010): 19–33. http://dx.doi.org/10.1080/08929091003732906.

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Hương, Nguyễn Thị Thu, and Trần Thị Thảo. "DRAMA ACTIVITY IN TEACHING INTERCULTURAL COMMUNICATION AT THAI NGUYEN UNIVERSITY OF EDUCATION." Tạp chí Khoa học và Công nghệ - Đại học Thái Nguyên 225, no. 12 (May 18, 2020): 10–17. http://dx.doi.org/10.34238/tnu-jst.2882.

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Bài báo này đánh giá hiệu quả việc sử dụng hoạt động kịch trong dạy học môn Giao thoa văn hóa tại trường Đại học Sư phạm – Đại học Thái Nguyên. Một số gợi ý về cách nâng cao hiệu quả của việc sử dụng hoạt động kịch trong dạy học cũng sẽ được thảo luận. Phương pháp nghiên cứu gồm có nghiên cứu tài liệu và sử dụng bảng hỏi. Kết quả cho thấy hoạt động kịch có tác dụng tích cực lên việc dạy và học môn Giao thoa văn hóa. Sinh viên nhìn chung đã thu được những hiểu biết cơ bản về những đặc trưng giao tiếp của các nước trên thế giới. Họ có thể so sánh Việt Nam với các nước trên thế giới và tìm được lời giải thích phù hợp cho những khác biệt. Đề xuất cũng đã được đưa ra dựa trên những khó khăn mà sinh viên trả lời trong bảng hỏi.
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Salazar, Laura Gardner, and Zayda Sierra. "The Transformational Qualities of Dramatic Arts: An Intercultural Dialogue From Two Lives and Three Continents." Europe’s Journal of Psychology 10, no. 2 (May 28, 2014): 221–34. http://dx.doi.org/10.5964/ejop.v10i2.787.

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During the International Drama and Education Association (IDEA) Congress in Kenya in 1998, the life of two educators crossed roads. Although both are from different geographical contexts (Colombia and the United States), they have shared the same passion: to encourage in their societies the implementation of dramatic arts in different educational settings (schools, universities, communities) so children and adults could develop to their fullest, thus enabling them to participate actively in building a more democratic society. Fifteen years after this encounter, they met again in the 2013 IDEA Congress in Paris to reflect on their efforts during their life spans. Through examining their drama practices, they discuss how this human expression functions as a critical thinking art form, changing players, audiences, and communities. Lessons derived from their experiences might be useful for a new generation of transformational drama leaders.
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Donnery, Eucharia. "Testing the Waters: Drama in the Japanese University EFL Classroom." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 1 (January 1, 2009): 17–33. http://dx.doi.org/10.33178/scenario.3.1.3.

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This paper explores the rationale for including drama-based pedagogy into the curriculum of the Department of English at Ritsumeikan Asia Pacific University (APU) in Japan. Traditional Japanese teaching practices are explained, followed by an outline of the parallels between drama-based pedagogy and teaching practices of the Japanese elementary school. Contrary to popular expectation, drama-based pedagogy is compatible with existing traditional and cultural systems of education in Japan. Therefore, drama-based pedagogy was included in the Fundamental English language course at APU to provide the students a bridge to move from teacher-led styles of junior high and senior high schools to return to the more learner-centered styles of education of the elementary educational system. This would seem a reasonable way in which to facilitate more cooperative, rather than competitive, styles of learning. Secondly, within the course subject matter of “Intercultural Communication”, drama-based pedagogy could be employed through role plays and self-reflection inside the classroom to allow the students to experience awareness of differing communicative styles when engaged in social interaction with the international students outside of the classroom. Likewise, the process of self-reflection in drama and theatre practices is a complex mix of introspective interrogation and affective engagement, which forms the catalyst for dramatic communication. The purpose of this paper is to present one specific case where drama-based pedagogy was incorporated into the English language curriculum of a rather unique Japanese university.
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Piazzoli, Erika. "Process drama and intercultural language learning: an experience of contemporary Italy." Research in Drama Education: The Journal of Applied Theatre and Performance 15, no. 3 (August 2010): 385–402. http://dx.doi.org/10.1080/13569783.2010.495272.

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Dissertations / Theses on the topic "Drama in intercultural education"

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Frimberger, Katja. "Towards a Brechtian research pedagogy for intercultural education : cultivating intercultural spaces of experiment through drama." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4593/.

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This PhD thesis develops a Brechtian research pedagogy for intercultural education. Taking its lead from progressive intercultural educators and researchers who conceptualise intercultural experiences as being ‘radically embodied’, this thesis is underpinned by a concept of culture as fluid and constantly ‘in the making’. In order to give ethical and pedagogical consideration to such a performative view of culture, Brechtian thinking and theatre practice is employed and translated into the intercultural education research space. Placing Brechtian Verfremdung – ‘estrangement’ - at the heart of methodology, such research pedagogy works from within the precarity of intercultural spaces. Based on an immanent ethics that emerges from and shapes within the relationships built in the research space, the researcher’s role is that of the facilitator and co-producer of data. A Brechtian research pedagogy is thus considered a mode of production; one that does not conceptually presuppose ethics and pedagogy, but considers them as ‘becoming’ and integrated within its methods. It asks two questions i) can a Brechtian informed approach to pedagogy create and change experiences of ‘strangeness’ and ii) if so, how is this achieved and manifested? The focus of this thesis is international students’ dynamic and in flux experiences of strangeness. During four half-day workshops in consecutive weeks, a group of ten international postgraduate students encounter a Brechtian research space, where, using drama, creative writing and filming methods, they engage in an open, embodied conversation on ‘intercultural experiences’. I trace participants’ process of intercultural learning and ‘intercultural making’ through the embodied methods used in the drama research workshops. These embodied methods stimulate a variety of reflective modes and produce multilayered data for analysis: pictures, conversations, creative writing pieces and even non-verbal gestures. In order to prevent an early reification of these ‘texts’ into academic ‘strangeness knowledge’, they are in turn estranged and used in a mode of artistic production. This allows for active thinking about the research question as well as aids reflection on the modes of encounter within the research space. ‘Estrangement’ draws attention not only to the content of intercultural stories used, but to their inherent discursive structures and the effects these can have on participants’ well-being. The research project’s main emphasis, then, is on the process of research and starts to work towards a respective Brechtian representational practice by developing the term ‘dialogic aesthetic framing’. It is suggested that representations should be equally seen as modes of production, dependent on an audience’s active reading between the research’s ‘metaphoric gaps’. Future research would seek to develop this more product-oriented focus further, so as to test and develop concrete artistic, representational practices for a Brechtian research pedagogy.
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Donelan, Katriona Jane, and n/a. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School." Griffith University. School of Vocational, Technology and Arts Education, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060609.111246.

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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives. This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called ‘The Gods Project’. ‘Jean’, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an ‘African’ creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jean’s residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project. I collaborated with Jean and with a group of senior students, who volunteered to be ‘student co-researchers’, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jean’s pedagogy of intercultural story telling within the drama classroom and her role as a ‘cultural guide’ throughout the project was explored. As a participatory ethnographic researcher, drama educator and ‘assistant director’, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts. Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of ‘social drama’ and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turner’s concepts of the ‘liminal/liminoid’ and ‘communitas’ were applied to the participants’ experiences at the creative arts camp and within the workshop and performance space. ‘Dark play’ was identified as the young people’s response to the difficult social drama they were involved in; their subversive play provided a way to engage with the ‘strangeness’ of the cultural material and the play’s ‘dark’ story and themes. The participants’ dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making. The students’ efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative ‘intercultural reflexivity’, ethnography can enhance intercultural drama education. The pedagogical features of The Gods Project are related to Turner’s concept of performance ethnography and the role of a ‘cultural guide’ in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.
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Donelan, Katriona Jane. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/368076.

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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives. This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called ‘The Gods Project’. ‘Jean’, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an ‘African’ creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jean’s residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project. I collaborated with Jean and with a group of senior students, who volunteered to be ‘student co-researchers’, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jean’s pedagogy of intercultural story telling within the drama classroom and her role as a ‘cultural guide’ throughout the project was explored. As a participatory ethnographic researcher, drama educator and ‘assistant director’, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts. Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of ‘social drama’ and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turner’s concepts of the ‘liminal/liminoid’ and ‘communitas’ were applied to the participants’ experiences at the creative arts camp and within the workshop and performance space. ‘Dark play’ was identified as the young people’s response to the difficult social drama they were involved in; their subversive play provided a way to engage with the ‘strangeness’ of the cultural material and the play’s ‘dark’ story and themes. The participants’ dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making. The students’ efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative ‘intercultural reflexivity’, ethnography can enhance intercultural drama education. The pedagogical features of The Gods Project are related to Turner’s concept of performance ethnography and the role of a ‘cultural guide’ in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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Choi, Yoon-Jeong. "Being outside and inside : dialogic identity and intercultural communication through drama in teaching English as an international language." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/1084/.

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Lucut, Andrea. "Integration och dramapedagogik- en dialog?" Thesis, Högskolan i Gävle, Akademin för utbildning och ekonomi, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12314.

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Integration är ett komplext begrepp som kan ses utifrån flera perspektiv och synvinklar. Dramapedagogik emellertid utgår från olika typer av värdeord baserade i en gemensam värdegrund. Centrala begrepp i detta är demokrati, acceptens och alla människors lika värde. Syftet med uppsatsen är att kartlägga, systematisera och problematisera forskning om hur drama kan användas, eller har använts i integrationssyfte. Hur ser dialogen ut inom forskningsfältet drama och integration? Vad säger det om dramapedagogikens betydelse i integrationsprocesser? Kan man urskilja några teman och i så fall vilka? Som metod används en litteraturstudie med en kvalitativ ansats som vilar på utvalda begrepp som ingår i en integrationsprocess. Resultatet visar fyra olika kategorier där drama används som metod i integrationsprocesser. Drama för att främja mångkulturalism och interkulturell kompetens, kulturell identitet genom drama och teaterprocesser, drama som resurs för språkinlärning samt drama och teaterprocesser med syfte att spegla och engagera samhället.
Integration is a complex concept that can be approached from several perspectives and viewpoints. Drama in Education, however is based on different types of core values based in shared values. The keys to these are democracy, acceptance and equal dignity. The purpose of this paper is to identify, systematize and problematize academic research on how drama can be used, or has been used for integration purposes. What does the dialogue within the researchfield regarding drama and integration look like? What does it say about dramas role in integration processes? Are there any themes to be seen? The method used is a literaturestudie with a qualitative approach that is based on selected concepts included in an integration process. The results show four different categories in which drama is used as a method for integration. Drama for promoting multiculturalism and intercultural competence, cultural identity through drama and theater processes, drama as a resource for language learning and drama and theater processes in order to reflect and engage society.
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Popova, Vlada. "Youth development through intercultural performance: A case study from Wesbank Arts and Culture Group, South Africa." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The research took place while the author worked as a volunteer theatre practitioner with the Arts and Culture Group in Wesbank township near Kuils River, Cape Town, South Africa. This organisation was founded in 2002 and was the result of one woman's efforts to keep the children of Wesbank off the streets, by keeping them busy through dance, song and drama. This study investigated the impact of basic theatre training, working towards performance and the performative act itself on the psyche of the drama group participants. More specifically, the study investigated in what ways being involved in a performance can help children and young people in an underprivileged community of Wesbank to develop confidence, a sense of competence, self-reliance, creative thinking, responsibility and the ability to work as an ensemble. The research was to a great extent focused on cross-cultural communication. How could the "
Cape Coloured"
and Xhosa members of the group overcome cultural barriers and express their cultural uniqueness equally through taking part in multicultural theatre performance.
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Awi, Jane Pumai. "Creating new folk opera forms of applied theatre for HIV and AIDS education in Papua New Guinea." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/81643/1/Jane%20Awi%20Thesis.pdf.

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This research investigated the potential of folk opera as a tool for HIV and AIDS education in Papua New Guinea. It began with an investigation on the indigenous performativities and theatricalities of Papua New Guineans, conducting an audit of eight selected performance traditions in Papua New Guinea. These traditions were analysed, and five cultural forms and twenty performance elements were drawn out for further exploration. These elements were fused and combined with theatre techniques from western theatre traditions, through a script development process involving Australians, Papua New Guineans and international collaborators. The resulting folk opera, entitled Kumul, demonstrates what Murphy (2010) has termed story force, picture force, and feeling force, in the service of a story designed to educate Papua New Guinean audiences about HIV and the need to adopt safer sexual practices. Kumul is the story of a young man faced with decisions on whether or not to engage in risky sexual behaviours. Kumul's narrative is carefully framed within selected Papua New Guinean beliefs drawn from the audit to deliver HIV and AIDS messages using symbolic and metaphoric communication techniques without offending people. The folk opera Kumul was trialled in two communities in Papua New Guinea: a village community and an urban settlement area. Kumul is recognisable to Papua New Guinean audiences because it reflects their lifestyle and a worldview, which connects them to their beliefs and spirituality, and the larger cosmological order. Feedback from audience members indicated that the performance facilitated HIV and AIDS communication, increased people's awareness of HIV and AIDS, and encouraged behaviour change. Tellingly, in one performance venue, forty people queued for Voluntary Testing and Counseling immediately after the performance. Twenty of these people were tested on that night and the other twenty were tested the following day. Many of the volunteers were young men – a demographic historically difficult to engage in HIV testing. This encouraging result indicates that the Kumul folk opera form of applied theatre could be useful for facilitating communication and education regarding sexual health and safer sexual behaviours in Papua New Guinea. Feedback from participants, audience members and other research stakeholders suggests that the form might also be adapted to address other social and development issues, particularly in the areas of health and social justice.
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Lei, Daphne Pi-Wei. "Performing the borders : gender and intercultural conflicts in premodern Chinese drama /." Thesis, Connect to Dissertations & Theses @ Tufts University, 1999.

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Thesis (Ph.D.)--Tufts University, 1999.
Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 264-283). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Blewitt, David. "Drama in Tudor education : education in Tudor drama." Thesis, University of Bristol, 1986. http://hdl.handle.net/1983/9c1050cb-a734-4151-b3f4-63ff22554368.

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The present work argues for the invaluable contribution of boy actors to the evolution of Tudor drama. Since most young scholars later went up to university or the'Inns of Court, I have also considered the course of drama in those institutions. This drama in education was given its prime impetus by visiting professional troupes, whose itineraries included schools, universities and the Inns. The education in drama they set before their audiences helped shape the schools drama, which was able to develop and expand in a way denied the professionals by the consequences of the Reformation. Not till Leicester's men established themselves at the Theater were the professionals enabled once again to strive towards their eventual pre-eminence. The argument in those'sections dealing with the colleges of Winchester, Eton and Westminster is supported by original archival material hitherto unavailable in print. The Introduction states the situation at the moment of the foundation of the Theater and of the first Blackfriars. That significant moment marked the beginnings of the decline in the fortunes of the forces of drama in education. The prehistory is rooted in the broad educational changes of the late fifteenth and early sixteenth centuries (Chapter I) and in the seminal effect upon the drama of the sermons of the mendicant preachers of the later Middle Ages (Chapter I). These twin influences forged the drama of pre-Reformation England, defined the roles of professionals and boys alike (Chapter II).
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Kagolobya, Richard. "Symbolic interaction and intercultural theatre performance dynamics in Uganda : the case of Makerere Universitys Intercultural Theatre Collaborations." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/96034.

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Abstract:
Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This dissertation investigates and examines the dynamics of intercultural theatre practice. Existing scholarship on interculturalism in theatre praxis regards intercultural theatre as a site for bridging cultures and cross-cultural performance traditions, and for investigating the performance of power between the collaborating parties, learning, cultural imperialism, cultural translation and hybridity, among other features. However, much of the existing literature does not offer a historical perspective allowing one to understand the dynamics of contemporary North-South collaborations. Moreover, most studies do not adequately weave the experiences of the participants in such collaborations into their analyses. This study contributes to filling that research gap. This research specifically seeks to investigate and examine the dynamics of intercultural theatre collaborations in Uganda, taking Makerere University‘s Department of Performing Arts and Film‘s intercultural theatre activities in recent years as case studies. The inquiry was mainly driven by the impetus to explore the North-South intercultural theatre dynamics and to examine the socio-cultural, socio-political, socio-economic features and other notions that were manifested in these intercultural theatre collaborations and performances. In order to pursue the above line of inquiry I used a multiple case study design by examining three cases: the Stanford-Makerere, New York-Makerere and the Norwegian College of Dance-Makerere collaborations. The multi-case study model was reinforced by the use of personal interviews, direct observation, focus group discussions, document analysis and emails of inquiry in order to solicit the views of individuals who had participated in the above collaborations. Theoretically, the study is hinged on a multiplicity of concepts and discourses: symbolic interaction, intercultural communication, theatre studies, postcolonial studies, international education and the discourse on globalisation. In the analysis of the different cases it was discovered that the issue of economic inequality in the contribution towards the funding of the collaborations, among the different modes of power performativity manifested in the collaboration processes, sometimes leads to an imbalance in the decision-making process. Consequently, the power imbalance contributes to the North-South intercultural theatre collaborations‘ unending crisis of identification with imperialism. The study further shows that there are cultural, linguistic, pedagogical, structural and socio-psychological aspects of difference that are negotiated during the course of the collaborations. It was found that the process of navigating the socio-cultural differences provides the participants with an experiential learning environment of living with/within and appreciating cultural differences, thus providing a bridge across the socio-cultural divide. The cultural bridge in theatrical terms, however, leads to the generation of theatrical hybridity and fusion, which again brings into play the debate on intercultural performance authenticity/inauthenticity in theatre discourse. Also, based on the view that intercultural theatre collaborations are microcosms of multifaceted global intercultural interactions, it was seen that the socio-cultural differences that are negotiated through the intercultural theatre collaborations can give one a microcosmic platform for critiquing the grand concept of the ―global village‖ and the associated notion of ―world cultural homogenisation‖. Since this study uses a novel multidisciplinary approach in the analysis of intercultural theatre phenomena, I believe it will contribute to critical theatre studies in Uganda and elsewhere. The findings will also hopefully contribute towards the assessment of intercultural theatre collaborations at Makerere University in order to improve them. The study will also advance the view that intercultural theatre‘s aesthetic and experiential processes can help in interpreting and understanding our respective multicultural environments. Broadly, it will contribute to the discourse on intercultural communication, performance and cultural studies.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die dinamika van interkulturele teaterpraktyk. Bestaande navorsing oor interkulturaliteit in die teaterpraktyk beskou interkulturele teater as ‘n forum vir die oorbrugging van kultuurgrense en interkulturele opvoeringstradisies, en vir die ondersoek na aangeleenthede soos die uitvoering van mag tussen die deelnemende partye, leer, kulturele imperialisme, kulturele vertaling en hibriditeit. Die bestaande literatuur bied egter grotendeels nie ‘n historiese perspektief waaruit die dinamika van kontemporêre Noord-na-Suid-samewerkings verstaan kan word nie. Verder verweef die meeste ondersoeke nie die ervarings van die deelnemers aan sulke samewerkings bevredigend in hul analises nie. Hierdie ondersoek dra by tot die vul van daardie navorsingsgaping. Hierdie navorsing poog spesifiek om die dinamika van interkulturele teatersamewerkings in Uganda te ondersoek deur van onlangse interkulturele teateraktiwiteite aan die Departement Uitvoerende Kuns en Film aan die Makerere Universiteit gebruik te maak as gevallestudies. Die beweegrede vir die ondersoek is hoofsaaklik die verkenning van die dinamika van interkulturele Noord-na-Suid-teatersamewerking en ‘n ondersoek na die sosio-kulturele, sosio-politiese en sosio-ekonomiese kenmerke en ander opvattinge wat in hierdie interkulturele teatersamewerkings en -opvoerings gemanifesteer het. Om hierdie ondersoek te onderneem, het ek drie gevalle in ‘n meervoudigegevallestudie-ontwerp bestudeer: die samewerkings tussen onderskeidelik Stanford en Makerere, New York en Makerere, en die Norwegian College of Dance en Makerere. Die meervoudigegevalle-ontwerp is versterk deur die gebruik van persoonlike onderhoude, direkte waarneming, fokusgroepgesprekke, dokumentanalise en e-posnavrae in ‘n poging om die opvattings van individue wat aan die bogenoemde samewerkings deelgeneem het, te verkry. Teoreties is die studie gefundeer in ‘n veelvoud konsepte en diskoerse: simboliese interaksie, interkulturele kommunikasie, teaterstudies, postkoloniale studies, internasionale opvoedkunde en die diskoers oor globalisering. In die analise van die verskillende gevalle is bevind dat die kwessie van ekonomiese ongelykheid in bydraes tot die befondsing van samewerkings, onder die verskillende modusse van magsperformatiwiteit wat in die samewerkingsprosesse gemanifesteer het, soms ‘n wanbalans in die besluitnemingsproses tot gevolg het. Gevolglik dra hierdie magswanbalans by tot die nimmereindigende krisis van identifikasie met imperialisme waaronder interkulturele Noord-na-Suid-teatersamewerkings gebuk gaan. Die ondersoek toon verder dat daar kulturele, linguistiese, pedagogiese, strukturele en sosio-psigologiese verskille is wat oorkom moet word vir suksesvolle samewerkings om plaas te vind. Daar is bevind dat die hantering van sosio-kulturele verskille die deelnemers van ‘n eksperimentele leeromgewing voorsien vir die belewing en waardering van kultuurverskille, waardeur die sosio-kulturele skeiding oorbrug word. Die kulturele brug lei egter, in toneelmatige terme, na die ontwikkeling van toneelmatige hibriditeit en versmelting, wat weer die debat oor die outentisiteit al dan nie van interkulturele opvoerings in die teaterdiskoers aktiveer. Verder is daar, gebaseer op die siening dat interkulturele teatersamewerkings mikrokosmosse van veelvlakkige globale interkulturele interaksie is, bevind dat die sosio-kulturele verskille wat deur interkulturele teatersamewerkings oorkom word, ‘n mikrokosmiese platform kan voorsien vir die kritisering van die begrip van die sogenaamde ―wêrelddorpie‖ en verwante nosies van wêreldwye kulturele homogenisering. Aangesien hierdie ondersoek ‘n nuwe multidissiplinêre benadering tot die analise van interkulturele teaterverskynsels gebruik, glo ek dit sal bydra tot die teaterkritiek in Uganda en elders. Die bevindinge sal hopelik bydra tot die assessering van interkulturele teatersamewerkings aan Makerere Universiteit om hulle te verbeter. Die ondersoek sal ook die siening voortdra dat interkulturele teater se estetiese en ervaringsprosesse kan help met die interpretasie en verstaan van ons onderskeie multikulturele omgewings. Breedweg sal dit bydra tot die diskoers oor interkulturele kommunikasie, opvoering en kultuurstudie.
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Books on the topic "Drama in intercultural education"

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Gerd, Bräuer, ed. Body and language: Intercultural learning through drama. Westport, CT: Ablex Pub., 2002.

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Michael, Byram, and Fleming Michael, eds. Language learning in intercultural perspective: Approaches through drama and ethnography. Cambridge, U.K: Cambridge University Press, 1998.

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Hugh, James. Theatre in education, drama and intercultural performance: An examination of the effects of introducing elements of non-Western performance into Theatre in Education and drama practice. Birmingham: University of Central England in Birmingham, 1997.

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Intercultural bridges in teenagers' theatrical events: Performing self and constructing cultural identity through a creative drama process. Åbo: Åbo Akademi University Press, 2006.

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Peña, Guillermina Herrera. Educación intercultural bilingüe. Guatemala C.A: Universidad Rafael Landívar, 1999.

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Gonçalves, Susana, and Markus A. Carpenter. Intercultural policies and education. Bern: PETER LANG, 2012.

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Geof, Alred, Byram Michael, and Fleming Michael, eds. Intercultural experience and education. Clevedon, England: Multilingual Matters, 2002.

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Alred, Geof, Michael Byram, and Mike Fleming, eds. Intercultural Experience and Education. Bristol, Blue Ridge Summit: Multilingual Matters, 2002. http://dx.doi.org/10.21832/9781853596087.

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Akkari, Abdeljalil, and Myriam Radhouane. Intercultural Approaches to Education. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-70825-2.

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Marginson, Simon. Ideas for intercultural education. New York, NY: Palgrave Macmillan, 2011.

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Book chapters on the topic "Drama in intercultural education"

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Fleming, Michael. "Chapter 6. Intercultural Experience and Drama." In Intercultural Experience and Education, edited by Geof Alred, Michael Byram, and Mike Fleming, 87–100. Bristol, Blue Ridge Summit: Multilingual Matters, 2002. http://dx.doi.org/10.21832/9781853596087-009.

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Rothwell, Julia. "8. Using Process Drama to Engage Beginner Learners in Intercultural Language Learning." In Going Performative in Intercultural Education, edited by John Crutchfield and Manfred Schewe, 147–71. Bristol, Blue Ridge Summit: Multilingual Matters, 2017. http://dx.doi.org/10.21832/9781783098552-010.

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Küppers, Almut. "6. Exploring Diversity Through Drama Education: English– Turkish Perspectives on National German Stereotypes in Foreign Language Teacher Training." In Going Performative in Intercultural Education, edited by John Crutchfield and Manfred Schewe, 102–22. Bristol, Blue Ridge Summit: Multilingual Matters, 2017. http://dx.doi.org/10.21832/9781783098552-008.

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Donnery, Eucharia. "12. The Intercultural Journey: Drama-Based Practitioners in JFL in North America, and in JSL and EFL in Japan." In Going Performative in Intercultural Education, edited by John Crutchfield and Manfred Schewe, 233–49. Bristol, Blue Ridge Summit: Multilingual Matters, 2017. http://dx.doi.org/10.21832/9781783098552-014.

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Őzmen, Seçkin. "Mediation of Culture and Intercultural Dialogue Through Dramas." In Comparative and International Education, 129–40. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-423-7_9.

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Pica-Smith, Cinzia, Rina Manuela Contini, and Carmen N. Veloria. "Intercultural education." In Social Justice Education in European Multi-ethnic Schools, 26–45. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351057301-3.

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Sage, Rosemary. "Intercultural Communication." In Paradoxes in Education, 113–45. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-185-8_7.

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Jackson, Jane. "Online intercultural education." In Online Intercultural Education and Study Abroad, 175–203. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315098760-8.

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Wood, Jennifer Linhart. "Interlude: Intercultural Remixes." In Sounding Otherness in Early Modern Drama and Travel, 155–60. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12224-9_5.

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Almeida, Joana. "Intercultural seminars." In Intercultural Competence in Higher Education, 144–50. First edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315529257-13.

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Conference papers on the topic "Drama in intercultural education"

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Kovtun, Liliya, Elena Agibalova, Anna Kozis, and Ekatherina Chilikina. "DEVELOPING CREATIVITY THROUGH DRAMA IN INTERCULTURAL EDUCATIONAL CONTEXT." In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.2094.

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Zhu, Zhi. "Study on Training Methods of Intercultural Communication Abilities in Drama Education of College English Teaching." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.189.

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Qin, Feng, and Ning Yang. "The Main Melody Movie and TV Drama Participate in Ways of Innovation to Ideological and Political Education for College Students under New Situation Conditions." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.56.

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Petrova, Marina G., and Anastasiya S. Martynova. "THE INTEGRATIVE APPROACH IN ENGLISH TEACHING ON THE BASE OF DRAMA IN THE MULTIPROFILE TV STUDIO." In FUNCTIONAL ASPECTS OF INTERCULTURAL COMMUNICATION. TRANSLATION AND INTERPRETING ISSUES. Peoples' Friendship University of Russia, 2019. http://dx.doi.org/10.22363/2712-7974-2019-6-199-208.

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Katai, Zoltan. "Intercultural computer science education." In the 2014 conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2591708.2591744.

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Glotov, Sergei. "Intercultural Film Education Online." In Mindtrek '21: Academic Mindtrek 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3464327.3464333.

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Díez-Ajenjo, M. Amparo, Mariola Penadés Fons, M. Carmen García Domene, M. Josefa Luque Cobija, and Cristina Peris Martínez. "LEARNING ABOUT VISION THROUGH DRAMA." In 13th International Technology, Education and Development Conference. IATED, 2019. http://dx.doi.org/10.21125/inted.2019.0810.

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Birch, Peter, and Thomas Lennerfors. "Teaching Engineering Ethics With Drama." In 2020 IEEE Frontiers in Education Conference (FIE). IEEE, 2020. http://dx.doi.org/10.1109/fie44824.2020.9274160.

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Gałązka, Alicja. "DRAMA IN EDUCATION FOR SUSTAINABLE DEVELOPMENT." In International Technology, Education and Development Conference. IATED, 2017. http://dx.doi.org/10.21125/inted.2017.1643.

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Susilo, Andi, Ping Yang, and Ruying Qi. "Shaping EFL Teachers’ Critical Intercultural Awareness through Intercultural Education." In Proceedings of the 3rd English Language and Literature International Conference, ELLiC, 27th April 2019, Semarang, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2285307.

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Reports on the topic "Drama in intercultural education"

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Graves, Darlene. Creative Drama as an Instructional Strategy in Adult Christian Education. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1349.

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Abbe, Allison, and Rebecca Bortnick. Developing Intercultural Adaptability in the Warfighter: A Workshop on Cultural Training and Education. Fort Belvoir, VA: Defense Technical Information Center, November 2010. http://dx.doi.org/10.21236/ada533997.

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