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‘A Truly Indigenous Musical’ ‘A Truly Indigenous Musical’
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A ‘Bran Nue Dae’ for the Opera Company A ‘Bran Nue Dae’ for the Opera Company
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The University as a Venue for Decolonisation The University as a Venue for Decolonisation
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Disney and Pre-University Education: A Case Study Disney and Pre-University Education: A Case Study
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The Study of Music and Scores The Study of Music and Scores
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Voice Training: Singing and Speech Voice Training: Singing and Speech
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Dance Training and Embodiment Dance Training and Embodiment
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Actor Training Actor Training
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Choosing Which Works to Study Choosing Which Works to Study
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Intersectionality Intersectionality
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Subversions: The Big Life and Soft Power Subversions: The Big Life and Soft Power
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British Asian Musicals British Asian Musicals
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Curriculum-Based Productions Curriculum-Based Productions
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: A Case Study : A Case Study
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Notes Notes
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Bibliography Bibliography
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31 A Bran Nue Dae? Decolonising the Musical Theatre Curriculum
Get accessPamela Karantonis is Head of the Theatre and Performance Department (TaP) and a joint convenor of the musical theatre programme at Goldsmiths, University of London. She is also a member of the Royal Opera House’s Engender Network and the UK’s Musical Theatre Network. From 2010 to 2014 she jointly convened the Music Theatre Working Group of the International Federation for Theatre Research. Publications include editorships of and contributions to Opera Indigene: Re/presenting First Nations and Indigenous Cultures (2011) and Cathy Berberian: Pioneer of Contemporary Vocality (2014). Her most recent publication features in The Female Voice in the Twentieth Century: Material, Symbolic and Aesthetic Dimensions (Routledge, 2021). https://orcid.org/0000-0002-4171-1066.
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Published:23 October 2023
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Abstract
Decolonising the musical theatre curriculum in higher education is much more radical and comprehensive than simply exposing students to a greater volume of commercially celebrated work featuring Black, Indigenous, and Asian artists. The process of decolonisation begins by understanding how we could make universities accountable to the circumstances of the real artists who create the work. The challenge for departments and professors in musical theatre is that they are preparing students for an industry that does not see decolonisation as an aim. For the globalised musical, the nexus of Broadway and the West End is the cornerstone of an unyielding power structure that relies upon multiple canons of work enabled by a network of capitalist-colonialist nation-states whose social, economic, and cultural structures depend upon the centrality of these canons. This chapter will consider how a very grounded story about a very particular set of lived circumstances, Jimmy Chi and Kuckles’s Bran Nue Dae, is instructive as to how we begin to decolonise our understanding of commercial musical theatre globally and within the university sector. Entailed in this are matters of who curates and theorises this material, who performs it as part of an educational curriculum, how we decolonise the training of skills in both analysing and performing the genre, and the productions we stage.
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