Towards a New Pacific Theatre: Practice‐Led Enquiry into a Model of Theatre Making that Relates to the Geography, Cultures and Spiritual Values of Aotearoa/New Zealand

<p>This practice‐led research enquiry sets out to develop and test a model of theatre practice that relates to the unique geographic, cultural and spiritual dimensions of Aotearoa/New Zealand. In this practice, actors are connected with their body and the earth (they have feet), archetypal qualities inherent in nature and culture are incorporated into training and performance (return of the gods), a sense of adventure and risk‐taking is emphasized, and the practice relates to the multiple cultures and communities of Aotearoa/New Zealand. Presence, defined as the ability to be sensorially alive in the moment, and site‐specific performance, a creative response to locality, emerged as two of the key strategies to connect with self, other and the environment. By investigating selected principles, strategies and values from the indigenous, pre‐European, Māori performing arts (whare tapere), devised theatre, the Michael Chekhov technique, and Japanese Noh theatre, an intercultural approach to site specific theatre evolved that interweaves the four pathways of collaboration, connection, exploration and transformation and their corresponding values. After considering the political and ethical issues of intercultural performance a number of principles to guide the process of intercultural exchange were formulated and tested. A vital component of this study was the creative development and performance of Ex_isle of Strangers – a site‐specific work developed in response to the tangible and intangible dimensions of Matiu/Somes Island. The research generated moments of practice that investigated the creative potential of residential devising processes and the transformative value of audience mobility in performances that involve physical and metaphorical journeying. These moments provided the participants (performers and spectators) time, space and opportunity to interact with one another and with the site they occupied, thus significantly increasing their level of physical and mental engagement with the work.</p>

Towards a New Pacific Theatre: Practice‐Led Enquiry into a Model of Theatre Making that Relates to the Geography, Cultures and Spiritual Values of Aotearoa/New Zealand

<p>This practice‐led research enquiry sets out to develop and test a model of theatre practice that relates to the unique geographic, cultural and spiritual dimensions of Aotearoa/New Zealand. In this practice, actors are connected with their body and the earth (they have feet), archetypal qualities inherent in nature and culture are incorporated into training and performance (return of the gods), a sense of adventure and risk‐taking is emphasized, and the practice relates to the multiple cultures and communities of Aotearoa/New Zealand. Presence, defined as the ability to be sensorially alive in the moment, and site‐specific performance, a creative response to locality, emerged as two of the key strategies to connect with self, other and the environment. By investigating selected principles, strategies and values from the indigenous, pre‐European, Māori performing arts (whare tapere), devised theatre, the Michael Chekhov technique, and Japanese Noh theatre, an intercultural approach to site specific theatre evolved that interweaves the four pathways of collaboration, connection, exploration and transformation and their corresponding values. After considering the political and ethical issues of intercultural performance a number of principles to guide the process of intercultural exchange were formulated and tested. A vital component of this study was the creative development and performance of Ex_isle of Strangers – a site‐specific work developed in response to the tangible and intangible dimensions of Matiu/Somes Island. The research generated moments of practice that investigated the creative potential of residential devising processes and the transformative value of audience mobility in performances that involve physical and metaphorical journeying. These moments provided the participants (performers and spectators) time, space and opportunity to interact with one another and with the site they occupied, thus significantly increasing their level of physical and mental engagement with the work.</p>

Border Crossings: The First Twenty-Five Years

Michael Walling here looks back over the first twenty-five years of Border Crossings, the company he founded in 1995. The article explores the company’s intercultural remit, placing it within the wider context of multicultural and intercultural performance and policy, and the relationship between intercultural theory and practice. Structural questions around finance and organization are juxtaposed with an assessment of the dynamics of cross-cultural devising and the ethics of these collaborations. This article also explores Border Crossings’ text-based work, its curation of the ORIGINS Festival of First Nations and related ceremonies, and the company’s direct engagement with policy in the European Union. It is accompanied by a comprehensive chronology of the company’s productions. Michael Walling is Artistic Director of Border Crossings and Visiting Professor at Rose Bruford College. He has directed numerous productions across four continents, including opera as well as theatre.

“I finally marginalized myself from the mainstream”: An Autoethnography Study of Chinese International Student’s Development of Intercultural Communicative Competence

In the higher education market, the cross-border flow of international students has become increasingly apparent. For Australia, China has been a major student source and most of these students have been enrolled in the higher education sector. Such a phenomenon has rendered the innovation of higher education management necessary, and its socio-cultural influence has attracted attention from the Australian government. This study suggests that international students’ intercultural communicative competence (ICC) deficits could influence their self-perceptions thus compromising their ability to communicate with peers. Using a qualitative research approach, the study explores the extent to which China’s College English influences Chinese international students’ intercultural performance and unpacks the reasons for their behaviours. An autoethnography of a Chinese international student was provided to indicate that the experience from both home and host countries would constitute a habitual thinking pattern that could exert an enduring impact on individuals. Via critically engaging with Byram and Morgan’s three dimensions of ICC and Byram’s model of ICC, the participant’s ICC was analysed, and her conceptions of culture and language were discovered. This study advocates more meaningful explorations about English curricula and highlights the need for forming a caring and humane society and tapping the value of international students in the era of globalisation.

Towards a Collaborative Ergonomics: From Strangers to Symbiotic Community through Boundary Traversal in Performance

In the globalized twenty-first century, the relevance of intercultural performance is to forge supporting infrastructures between collaborators of divergent sociocultural backgrounds and disciplinary training. Fostering such infrastructures is vital for reconfiguring existing social relations and redistributing resources in the face of increasing sociocultural asymmetry. However, I argue that transforming collaborating ‘strangers’ into interdependent components of a sustainable symbiotic community necessitates the implementation of a collaborative ergonomics. It is an ergonomics concerned with the efficiency and efficacy of collaboration that actively seeks to traverse boundaries and borders. Linguistic translation, lexical translation and the transference and co-production of embodied knowledge are the crucial steps for effecting a collaborative ergonomics. Signs of an emerging symbiosis include the increasingly collaborative relationships between the collaborators and the transformation of embodied practices into highly reflexive and rigorous praxis.