Christopher Balme’s subproject has the twin aim of 1) elaborating theoretically the concept of a theatrical epistemic community and 2) tracing historically its consolidation and differentiation in the pre- und post-WWII period.
Karim Hakib’s sub-project focuses on historicizing Theatre for Development (TfD). It will examine the histories, networks and theories that undergird the genre. Its key aim is to investigate the epistemic networks, the influence of philanthropy and the development agenda that propelled its global institutionalization within and outside higher education institutions, particularly Africa.
This sub-project traces the impact of foreign funding on theatre with additional examples from the visual arts and music in the Occupied Palestinian Territories from 1983 to the present day.
Judith Rottenberg’s and Gideon Morison’s sub-projects investigate arts festivals that took place on the African continent in the 1960s and 1970s – the First World Festival of Negro Arts in Dakar (1966), the Pan-African Cultural Festival in Algiers (1969), the Second World Black and African Festival of Arts and Culture in Lagos (1977), as well as the Pan-African Historical Theatre Project, a festival held in Ghana every two years since 1992.
Since its foundation in 1913, the Rockefeller Foundation has played an eminent in role in supporting institutions and organizations. In this sub-project, theatre and media historian Nic Leonhardt investigates funding policies and activities of both the Rockefeller and Ford Foundation in the realms of culture and theatre.
The ITI was founded in 1948 by ‘theatre experts’ to promote ‘international exchange of knowledge and practice in theatre arts’ and therefore provided regular support for ‘third world’ theatre. This project investigates how the ITI coordinated the movement of theatrical expertise in the Cold War era.
Nic Leonhardt has been invited as a keynote speaker of the conference Indigenous Languages, Traditional Music and Dance within an Intercultural Performance/ Langues autochtones, musiques et danses traditionelles au sein de performances interculturelles.
Prof Balme will talk on “ Instituting National Theatres in the Postcolony: Urban Heterotopias for New Nations“
This month we publish the first Working Paper. This is a new series where members of the research group can explore new topics and ideas.
The working papers enable a pointed examination of theoretical and historical questions affecting the dissemination of the performing arts in a global context after 1945.
Conference organized by Prof. Dr. Christopher Balme (Ludwig-Maximilians-Universität München) und Dr. Gautam Chakrabarti (Freie Universität Berlin).
The Conference takes place in Center of Advanced Studies of Ludwig Maximillian University from 22.01 to 24.10.2019.
This Working Paper explores how the ubiquitous didactic form of the ‚workshop‘ had its origins in early twentieth-century theatrical modernism in the USA. The paper traces how it was disseminated with the help of American philanthropy throughout the developing world as the pedagogical format of choice.
This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No 694559)
European Research Council
Ludwig Maximilians university