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How do theatre and development partnerships operate? What issues impede collaborations between various institutions and individuals? Why do relations between global North and South partners often fail to reflect important values such as equality, reciprocity and mutual benefit? This is the first book to examine theatre and global development partnerships. It focusses on the UK and East African countries of Kenya, Rwanda and Uganda, presenting the author’s own experiences, case study analyses and perspectives from practitioners and scholars involved in theatre and development. It argues that simplistic binaries pervade partnerships, whereby the global North is regarded as ‘modern’ and ‘developed’ versus the ‘under-developed’ global South. This results in unequal power relations between collaborators, less effective projects with communities, and a lack of reciprocity and mutual benefit. Consequently, this book revitalises how we conceptualise partnerships. Issues such as widening inequalities, conflict, health and the climate crisis impact all countries. How, then, can we work across borders to support interconnected learning and action on these challenges? In this regard, principles of solidarity and mutual responsibility, as well as critical openness, enable us to reflect honestly about the failures of the partnerships we participate in and move beyond simplistic binaries of global North and South. The book is of importance to applied and socially engaged performance scholars and practitioners, and to development workers interested in arts and social change. Bobby Smith is Associate Professor of Theatre and Performance Studies and course director of the MA Applied Theatre at the University of Warwick, UK. Through his research, creative practice and teaching he aims to develop innovative approaches to activism, education, and social change. He has worked internationally to explore issues including violence prevention, health education, peacebuilding and the climate crisis.

Theater. --- Theater --- Economic development. --- Global and International Theatre and Performance. --- Contemporary Theatre and Performance. --- Development Studies. --- Applied Theatre. --- History.

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ILBIJERRI Theatre Company is Australia's longest established First Nations theatre company, producing powerful works for over 30 years. This open access book documents and critically reflects on their Social Impact stream of performances, aimed at health promotion and education around issues that disproportionately affect First Nations communities in Australia. Over the past 16 years, these works have reached over 25,000 audience members across the country. Productions include 'Chopped Liver' (2006-2009), 'Body Armour' (2011-2013) and 'Viral' (2018-2019)—all dealing with Hepatitis C; 'North West of Nowhere' (2014-2016), which deals with sexual health and healthy relationships; and 'Scar Trees' (2019), which addresses family violence. A new work, ‘Aunty Flo’ (2022) addresses menopause for First Nations women; and a pilot project addressing sexual health for First Nations young people—The Score (2022)—represents a new participatory approach to the Social Impact works, which places community members at the centre of the storytelling process. This book documents this important body of work for the first time, examining the impact on audiences and the cultural, aesthetic, and educational implications of a unique form of theatre for health education and promotion. Sarah Woodland is a researcher, practitioner and educator in applied theatre, participatory arts and socially engaged performance. She is currently Dean’s Research Fellow in the Faculty of Fine Arts and Music, University of Melbourne, Australia, investigating how the performing arts can promote social justice and wellbeing in institutions and communities. Sarah has published widely in applied theatre and interdisciplinary arts, including articles in leading journals Research in Drama Education, Qualitative Inquiry, and Cultural Trends. Sarah is also lead Editor on a forthcoming volume Sonic Engagement: The Ethics and Aesthetics of Community Engaged Audio Practice (2023). Sarah has undertaken teaching and supervision in theatre, is an editorial board member for RiDE, and an executive member of the Australasian Drama Studies Association (ADSA). Kamarra Bell-Wykes (Yagera/Butchulla) is a playwright, director, dramaturge, devisor, facilitator, performer, producer, curator, community developer and education consultant. Her transformative practice is highly sought after, delivering innovative research, resources and acclaimed performances. Kamarra served as ILBIJERRI’s Education and Learning Manager and later Creative Director from 2014-2018 and has been a Malthouse Resident Artist since 2020. Kamarra’s writing/directing credits include Because the Night (Malthouse), CHASE (A Daylight Connection/Malthouse/Hothouse), The Score, Scar Trees, Viral, North West of Nowhere, Body Armour, Chopped Liver, Shrunken Iris (ILBIJERRI), Crying Shame (Next Wave) and Mother’s Tongue (Yirra Yaakin). Kamarra received the 2021 Patrick White Playwrighting Award (Sydney Theatre Company) for her work Whose Gonna Love ‘Em? I am that i AM (Footscray Community Arts Centre/ILBIJERRI). .

Theater. --- Public health. --- Indigenous peoples --- Communication in medicine. --- Applied Theatre. --- Global and International Theatre and Performance. --- Public Health. --- Indigenous Religion. --- Health Communication. --- Religion.

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This book explores what happens to socially committed performance when state systems of social security are dismantled. Since 2010, a punishing programme of economic austerity and a seismic overhaul of the Welfare State in the United Kingdom has been accompanied by an ideological assault on dependency; a pervasive scapegoating of the poor, young, and disabled; and an intensification of the discursive relationship between morality and work. This book considers the artistic, material, and ideological consequences of such shifts for applied and socially engaged performance. Performing Welfare reveals how such arts practices might reconstitute notions of work and labour in socially constructive ways. It focuses on the political potential of participation during a period in which classifications of labour and productivity are intensely contested. It examines the migration of discourses from state policy to the cultural sector; narratives of community and aesthetics of dependency; the paradoxes of visibility in creative projects with stigmatised participants; the implicit relationship of participatory performance to neoliberal productivity; and, the parallels between gendered divisions of labour, social reproduction, and applied performance. It will appeal to students, scholars, and practitioners interested in applied and socially engaged performance, participation, community, representation, the welfare state, social policy, labour, and unemployment. .

Theater. --- Performing arts. --- Contemporary Theatre. --- National/Regional Theatre and Performance. --- Applied Theatre. --- Performing Arts. --- Show business --- Arts --- Performance art --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors

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This transdisciplinary study scientifically reports the way the established contemporary dance sector in Europe operates from a micro-perspective. It provides a dance scholarly and sociological interpretation of its mechanisms by coupling qualitative data (interview material, observations, logbooks, and dance performances) to theoretical insights. The book uncovers the sometimes contradicting mechanisms related to the precarious project-oriented labor and art market that determine the working and living conditions of contemporary dance artists in Europe’s dance capitals Brussels and Berlin. In addition, it examines how these working and living conditions affect the work process and outcome. From a sociological perspective, the book engages with the relevant contemporary social issue of precarity and this within the much-at-risk professional group of contemporary dance artists. In this regard, the research brings novelty within the subject area, particularly by employing a unique methodological approach. Although the research is initially set up in a specific geographical context and within a specific research population, the book offers insights into issues that affect our neoliberal society at large. The research findings show potential to make a relevant contribution with regards to precarity within dance studies and performance studies, but also labor studies and cultural sociology.

Dance --- Philosophy --- Philosophy. --- Europe. --- Dance. --- Performing arts. --- Theater. --- Performing Arts. --- Applied Theatre. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Show business --- Arts --- Performance art --- Dances --- Dancing --- Amusements --- Balls (Parties) --- Eurythmics

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This book is the first to consider contemporary African dance theatre aesthetics in the context of phenomenology, whiteness, and the gaze. Rather than a discussion of African dance per se, the author challenges hegemonic perceptions of contemporary African dance theatre to interrogate the extent to which white supremacy and privilege weave through capitalist necropolitics and determine our perception of contemporary African dance theatre today. Multiple aesthetic strategies are discussed throughout the book to account for the affective experience of ‘un-suturing’ that touches white spectatorship and colonial guilt at their core. The critical analysis covers a broad range of dance choreography by artists from the Democratic Republic of Congo, Ivory Coast, South Africa, Canada, Europe, and the US as they travel, create, and show their works internationally to global audiences to contest racial divides and white supremacist politics. .

Ethnology. Cultural anthropology --- Theatrical science --- Recreation. Games. Sports. Corp. expression --- etnologie --- performances (kunst) --- dansen --- theater --- dansexpressie --- Africa --- Dance. --- Performing arts. --- Theater. --- Actors. --- Ethnology—Africa. --- Performing Arts. --- Contemporary Theatre. --- Performers and Practitioners. --- Applied Theatre. --- African Culture.