Caribbean Quarterly

Articles from Vol. 53, No. 1/2, March-June

ADDRESS : The Arts and Post Colonial Certitude
The role of the arts in general and the dramatic arts in particular in post-colonialism elevates Jamaica and the rest of the English-speaking Caribbean to the status of "best case scenario". For the experience of this country and region over the past...
A Quantitative Research Method in Reception Theory in International Theatre
Case studies: 'Transit', Brazil, 'Motherland', Jamaica, 'Sandholm', 'FIF' and 'Visit to Turkey', Denmark, 'Vida de los perros' and 'El Meón', Bolivia,'5PSA - o filho', Brazil.IntroductionThe production of a theatre play involves a wide range of artists:...
Contesting Space and Power through Digital Drama Research: Colonial Histories, Postcolonial Interrogations1
Photography, Film, Video and Colonialism's GazeThe camera's gaze seems presently, in Western contexts, to be associated with various forms of social control, as we see in the pervasive use of video surveillance cameras (see Gallagher and Fusco 2006)...
Creative Teaching - Teaching Creativity
BackgroundThe concept of creativity in education has arisen all over the world, particularly in the developed countries. There are two important reasons for this interest. In the industrial nations, where technological and manufacturing jobs are being...
Emancipating Shakespeare: Cultural Transmission or Cultural Transformation?
IntroductionThe study of Shakespeare is generally regarded as an essential element of young people's education. In the UK it is a compulsory part of the National Curriculum and every year thousands of children and their teachers 'do' Macbeth or 'do'...
Foreword
Caribbean Quarterly, Volume 53, Numbers 1&2, 2007 is a special double issue entitled Returning the Gaze: Reclaiming the Voice. Post-Colonialism and its Implications for Drama and Education'. It is a collection of papers presented in the summer of...
From Neocolonial to Postcolonial: Some Implications for the Practice of Theatre for Development
Introducing ContradictionThe theatre of the scientific age is in a position to make dialectics into a source of enjoyment. The unexpectedness of logically progressive or zigzag development, the instability of every circumstance, the joke of contradiction...
Goldengrove: New and Selected Poems
Goldengrove: New and Selected Poems by Lorna Goodison, Manchester, England: Cacarnet Press, 2006. 124 pages.Prolific, wide-ranging, and accomplished, Lorna Goodison's new collection Goldengrove is a superb compilation made up of twenty new poems and...
Guest Editorial
It was at the University of Northampton in 2003 towards the end of the Fourth International Drama in Education Research Institute that the idea of bringing this prestigious conference to Jamaica was first broached. The notion of hosting a group of distinguished...
I Know Who I Am - A Caribbean Woman's Identity in Canada
I Know Who I am - A Caribbean Woman's Identity in Canada by Yvonne Bobb-Smith. Publ. Women's Press/Toronto 2003Racism, it seems, is a word that will not go away, as diey say, any time soon. One hears accusations of racism in all kinds of situations in...
KEYNOTE: Applied Theatre: Pure of Heart - Naively Complicit
As new migrants on ElUs Island waited under the shadow of the Statue of Liberty they faced a range of chaUenges to gain entry into the New World. One such hurdle for the huddled masses was a diagnosis of mental illness.Officials had about six seconds...
KEYNOTE: Cannibals, Colonial Scholars and Performance as Postcolonial Caribbean Knowledge Production
At a colloquium on diaspora and area stuthes, Shalini Puri (Puri, 2006, p.l) asked: How would this conference be different if it were taking place in Belfast or Gaza? Following her line of questioning, I want to ask how this conference would be different...
KEYNOTE: Drama in Education: Finding Self, Finding "Home"
In this paper I describe and discuss a drama project that I have done with a group of 9th grade girls in India. I discuss it in the context of my understanding of the goals of teaching and learning as I have used them in my work. I also map the metaphysical...
KEYNOTE: "You're Not Allowed to Say That" Minefields and Political Correctness
Twenty years ago, I was working in a tough all boys comprehensive school where the vast majority of pupils were White and working class. I recall just diree British Asian lads prior to the arrival of Abdul. Abdul didn't speak English. He was very short...
Mediatised Performance and Theatre for Young People: How TYP Is Responding to Digital Natives1
IntroductionIf you walk into the foyer of Contact Theatre Company in Manchester, instead of the discipline of the formal architecture of traditional theatres, young people encounter a more contemporary environment, one containing sights and sounds familiar...
Nian - the Story of the Chinese
IntroductionThe Chinese culture dates back 5,000 years and this monologue will show one person's memories of growing up Chinese, family superstitions, religious beliefs, faith, legends and celebration of the Chinese New Year.Scene 1 - Time is a circle(Empty...
Parallel Space but Disparate Usage: Negotiating Language Use in a Bilingual Society
As children my sister and I lived with our parents on a government agricultural station in rural Jamaica. The nearest playmates lived over three miles away. We were sent at ages seven and nine to a boarding school then staffed with mostly expatriate...
Permission to Speak?
HistoryNew Zealand is a nation of colonisers, from the first wave of migrants who arrived around 1,000 years ago - the Maori people who as the first peoples of New Zealand are known as tangata whenua - people of the land. First documented contact between...
Playbuilding in a Japanese College EFL Classroom: Its Advantages and Disadvantages
I. A Prelude to the Drama ProjectIn October 2003 the researcher discussed with one of her colleagues the theme for the junior seminar they were going to offer in 2004. The colleague specialized in Japanese language education, and she was to teach this...
Postcolonialism, Positioning and the Use of Drama in the Teaching of French Language and Literature
The political discourse surrounding the terms postcolonial, post-colonial or Post Colonial is one that tries to define the experiences and the quality of life that former colonies share. Do the colonies that speak the same language share a common experience...
Processing Post-Colonialism: Using Drama to Produce Multifaceted Art Experiences from Notionally Mono-Cultural Material
During the 8th century, Britain was home to a diverse, multi-cultural community and was establishing a distinctive identity upon the international stage. Out of this meeting of cultures emerged a vigorous new form of learning, literature and art known...
The ARROW Programme: Genesis, Ideas , Growth and Aspiration
BeginningsThe ARROW programme is an emerging network of people, organisations and institutions with an interest in and commitment to developing the creative arts as a resource for:reconciliation between people and peoplesthe creative transformation of...
The Buffoon and Representation: The Case of 'Oliver' and Jamaican Theatre
The proposed paper is an initial exploration into comedie dieatre's role and/or relationship to expressing and excavating a Jamaican identity. It is built on an analysis of the character Oliver, portrayed by the actor Oliver Samuels. The paper explores...
The Creative Ethos of the African Diaspora: Performance Aesthetics and the Fight for Freedom and Identity1
[E]ach time we beat drum, mask ourselves for carnival, enter the houmfort, we, even if we don 't know it-participate (even if partially/& the partially' is probably our most serious problem) in this magical inheritance of alternative, of alter/native...
When Inuit Sculpture Opens into Stories
IntroductionTo talk about sculpture, one of the visual arts, at a drama conference may seem strange - or even rather daring. However, an experience I had at the Musée national des beaux-arts du Québec (MNBAQ), the Quebec national art museum, with a group...
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