Cultural Representation in Modern Theater

Authors

  • Siena Ebony Gulu University

DOI:

https://doi.org/10.47941/ijars.2076

Keywords:

Cultural Representation, Inclusive Casting, Intersectionality, Theater Practices, Diversity Policies

Abstract

Purpose: The general purpose objective of the study was to explore cultural representation in modern theater.

Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through the online journals and library.

Findings: The findings reveal that there exists a contextual and methodological gap relating to cultural representation in modern theater. Preliminary empirical review revealed that while there had been significant progress in including diverse narratives, challenges remained, particularly in leadership roles dominated by majority cultural groups, limiting minority influence. Despite regional variations and structural imbalances, theater increasingly provided visibility to marginalized voices, enhancing empathy and understanding. The study emphasized the need for comprehensive diversity and inclusion strategies and collaborations to sustain this evolution, highlighting that continued efforts were essential for theater to reflect societal diversity and serve as a catalyst for cultural dialogue and social change.

Unique Contribution to Theory, Practice and Policy: The Critical Race Theory, Cultural Hegemony Theory and Intersectionality Theory may be used to anchor future studies on cultural representation in modern theater. The study recommended that theater practitioners adopt inclusive casting and storytelling practices, collaborate with community groups, and prioritize diversity in creative teams. Policy recommendations included implementing diversity-focused funding, establishing benchmarks, and creating incentives for inclusive practices. The study emphasized conducting audits, providing diversity training, and implementing mentorship programs to support underrepresented talent. It also advocated for increased funding, national awards, and advisory boards to ensure long-term commitment to cultural representation in theater.

Downloads

Download data is not yet available.

References

African Theatre Association. (2018). Annual report on African theater. Retrieved from http://www.africantheatreassociation.org/reports

Arts Council England. (2018). Diversity in the arts: Annual report. Retrieved from http://www.artscouncil.org.uk/diversity

Awodiya, P. (2014). Wole Soyinka and the African Theatre. African Studies Review, 57(1), 113-129. https://doi.org/10.1017/asr.2014.6

Bennett, S. (2018). Diversity on the British stage: Trends and impacts. Theatre Journal, 70(4), 421-439. https://doi.org/10.1353/tj.2018.0096

Brazilian Institute of Geography and Statistics. (2018). Cultural production statistics. Retrieved from http://www.ibge.gov.br/cultural

British Council. (2019). Diversity in the arts: A report on British theater. Retrieved from http://www.britishcouncil.org/arts/diversity

Cohn, G. (2013). Theater of the Oppressed: Legacy and contemporary applications. Journal of Theatre and Performance, 23(2), 145-160. https://doi.org/10.1386/jtap.23.2.145_1

Crenshaw, K. (1989). Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Anti-discrimination Doctrine, Feminist Theory, and Antiracist Politics. University of Chicago Legal Forum, 1989(1), 139-167.

Crenshaw, K. (2011). Twenty Years of Critical Race Theory: Looking Back to Move Forward. Connecticut Law Review, 43(5), 1253-1352.

Garcia, E. (2017). Barriers and opportunities for Latinx representation in American theater. Journal of American Ethnic History, 36(3), 55-78. https://doi.org/10.5406/jamerethnhist.36.3.0055

Gramsci, A. (1971). Selections from the Prison Notebooks. International Publishers.

Japan Foundation. (2019). Trends in contemporary Japanese theater. Retrieved from http://www.jpf.go.jp/e/trends

Japanese Association for Cultural Economics. (2018). Contemporary issues in Japanese theater. Retrieved from http://www.jace.or.jp/reports

Lee, M. (2018). Asian American narratives in contemporary theater: Evolution and impact. Asian Theatre Journal, 35(2), 192-215. https://doi.org/10.1353/atj.2018.0012

Ministério da Cultura. (2015). The state of Brazilian theater: A comprehensive report. Retrieved from http://www.cultura.gov.br/theater

National Endowment for the Arts. (2018). Theater demographics report. Retrieved from http://www.arts.gov/theater/demographics

Pan-African Creative Exchange. (2019). Trends in African theater: A decade in review. Retrieved from http://www.pace.org/trends

Powell, D. (2017). Traditional and contemporary in Japanese theater. Asian Theatre Journal, 34(3), 309-329. https://doi.org/10.1353/atj.2017.0027

Sanchez, R. (2016). "Hamilton" and the new face of American theater. American Theatre, 33(5), 42-55. https://doi.org/10.1037/amp0000206

Theatre Communications Group. (2017). Trends in American theater: A report. Retrieved from http://www.tcg.org/reports

Tomlin, C. (2015). LGBTQ+ representation in modern theater: Reception and influence. Journal of Homosexuality, 62(12), 1608-1624. https://doi.org/10.1080/00918369.2015.1078193

Downloads

Published

2024-07-12

How to Cite

Ebony, S. (2024). Cultural Representation in Modern Theater. International Journal of Arts, Recreation and Sports, 3(5), 53–66. https://doi.org/10.47941/ijars.2076

Issue

Section

Articles

Similar Articles

1 2 3 > >> 

You may also start an advanced similarity search for this article.