Abstract
This chapter returns to interculturalism to examine changes that have occurred in this theatrical practice in the two decades since the publication of Women’s Intercultural Performance. Research methods have also altered because of shifts in cultural and political contexts, and the availability of new research tools. Our “close-up” studies of women’s intercultural performance practice have given way to a “distant reading” based on quantitative analyses that deliver qualitative interpretations of the social, political, and economic forces that facilitate or block cultural transmission at a transnational level. Using AusStage, the Australian database for the performing arts, we have interrogated an AusStage festival subset to reveal that the nature and location of interculturalism in Australia has changed markedly, and disappointingly, that women play ever-more limited roles in this Australian market. We situate this re-evaluation of intercultural performance practice against global forces and national positions—specifically cultural diplomacy—and articulate disjunctions we have uncovered. Using quantitative analyses as the basis of qualitative interpretations has allowed us to contextualize our earlier study by reflecting on a broader time span, thus enriching the close-up methodology that produced Women’s Intercultural Performance.
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Notes
- 1.
AusStage cannot cover all art forms: the festival data does not include live music unless it is playing during an opera, dance, theatre, or hybrid performance event.
- 2.
These include members of the Confederation of Australian International Arts Festivals (CAIAF): Darwin Festival, Brisbane Festival, Sydney Festival, Perth Festival, Melbourne Festival, Adelaide Festival, and Ten Days on the Island. New Zealand and Auckland Festivals were excluded for the purposes of this study. For comparison purposes, we included the specialist OzAsia Festival’s theatrical program.
- 3.
Of the top five nations for Australians born overseas, the UK and Italy have declined from 2001–2011, New Zealand has remained stable, while China and India have grown slightly.
- 4.
The dataset is limited by the information available to those entering data into AusStage. Entry of detailed cast and crew lists is not mandatory, and sometimes not easily accessible within festival programs. Limitations also exist around assigning a binary gender given the fluidity of these categories.
- 5.
Other performance that foregrounds “othered” groups could fit here, including Back to Back Theatre, which casts actors perceived to have a disability, and has received repeated DFAT funding.
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Holledge, J., Thomasson, S., Tompkins, J. (2019). Rethinking Interculturalism Using Digital Tools. In: McIvor, C., King, J. (eds) Interculturalism and Performance Now. Contemporary Performance InterActions. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-02704-9_4
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