Volume 4, no 2-3 (May 2006)
Cover Photo: Pascal Victor/Max ppp

3 - The State and the Discourse
Editorial by Edward Little

4 -  Rahul Varma reflects on the nature of Teesri Duniya Theatre’s quarter century of struggle to position socially engaged and culturally representative arts and artists in Canada as a front line of resistance to global injustice.

8 - Comfort Adesuwa Ero reflects on her experience of cultural colonization and military dictatorships in Nigeria to argue that transplanted artists must at times resist hybridisation in order to highlight difference and preserve authentic representations of the Other.

10 - Robert Nunn, in his review of How Theatre Educates, draws attention to the possibility that “not all the ways theatre can educate are necessarily positive and progressive.”

12 - Peter Copeman’s defence of traditional narrative in a postmodern age argues that storytelling is an ideal platform for intercultural theatre.

16 - Monique Mojica presents an evocation of the ways in which she and fellow artists are drawing on “blood memory” to access deeply embedded social and cultural sources for embodied aesthetic expression.

21 - Jazwant Guzder considers both the representation and reception of issues about hybrid identity and marginalized Asian-Canadian youth within the context of fuGen Theatre’s production of Banana Boys.

22 - Leanore Lieblein examines how the Boyokani Company’s production of an African Hamlet challenges assumptions about to whom the play speaks and belongs.

25 - Lisa Doolittle and Troy Emery Twigg discuss the rewards – and challenges- of using theatre to build cultural bridges between native and non-native communities.

28 - David Kornhaber considers the paradox of Brooks Tierno Bokar to examine how an unflinching portrayal of the faults and intolerances of Islam might foster cross-cultural acceptance.

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