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Creative Selves / Creative CulturesInside Our Islands: Confronting the Colonized Muse in the Decolonizing Performance Space

Creative Selves / Creative Cultures: Inside Our Islands: Confronting the Colonized Muse in the... [This chapter delves into the process of play creation within the troubling, confronting, emotional territory inherent in cross-cultural story-telling. As a non-Aboriginal researcher and playwright, I have written this chapter in a way that the content evolves as a critical autoethnography approached from a dominant culture perspective. Harnessing the multiple voices reflecting multiple roles of scribe, actor and character, the chapter explores challenges to my arts practice, as craft responsibilities towards the developing work and the acting ensemble shifted between areas of old and new knowledge, between old and new understandings of relationship, drama and resilience and through an increasing awareness of how the personal and the political play out in cultures of privilege and cultures of marginalisation. The chapter further suggests that the kinds of learnings that take place in the cross-cultural environment are as much about breaking and re-making old expectations of the very nature of narrative, as they are about locating story.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Creative Selves / Creative CulturesInside Our Islands: Confronting the Colonized Muse in the Decolonizing Performance Space

Part of the Creativity, Education and the Arts Book Series
Editors: Holman Jones, Stacy; Pruyn, Marc
Wilkinson, Linden
Creative Selves / Creative Cultures — Nov 30, 2017
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15 pages

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References (10)

Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s) 2018
ISBN
978-3-319-47526-4
Pages
153 –168
DOI
10.1007/978-3-319-47527-1_10
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter delves into the process of play creation within the troubling, confronting, emotional territory inherent in cross-cultural story-telling. As a non-Aboriginal researcher and playwright, I have written this chapter in a way that the content evolves as a critical autoethnography approached from a dominant culture perspective. Harnessing the multiple voices reflecting multiple roles of scribe, actor and character, the chapter explores challenges to my arts practice, as craft responsibilities towards the developing work and the acting ensemble shifted between areas of old and new knowledge, between old and new understandings of relationship, drama and resilience and through an increasing awareness of how the personal and the political play out in cultures of privilege and cultures of marginalisation. The chapter further suggests that the kinds of learnings that take place in the cross-cultural environment are as much about breaking and re-making old expectations of the very nature of narrative, as they are about locating story.]

Published: Nov 30, 2017

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