Diversity, difference and inclusion… in Theatre for Young Audiences in Africa and the World

“What voices get heard; what perspectives get listened to? When we speak, from what perspectives do we speak and to what extent do we acknowledge these?”

“How exclusive these forums are… How are we making sure that we acknowledge our privileges?”

The strength of the Cradle of Creativity ASSITEJ 2017 festival was that it included many different, less privileged voices in the debate and ensured that the debate was not just in the centre of the city but also in the Township cultural hubs.

English delegates have the particular perspective of working in the context of Brexit and with the Arts Council England’s Creative Case for Diversity.  This was highlighted by Erwin Mass and Liz O’Neill. 

The questions below are drawn from the excellent facilitators, speakers and delegates too numerous to mention by name.

- Is difference a better word than diversity?

- The etymology of diversity means ‘to turn aside’, is not ‘inclusion’ the approach we want?

- What are the feelings attached to not being included?

- If we look at the UK in the context of ‘inclusion,’ is the Brexit vote to exclude ourselves from Europe because we do not feel included?

- How do we ensure both quality and diversity?

- To what degree does relevance and intention inform excellence in art?

- Is it a myth that children are somehow innocent and outside concerns of difference and identity?

- How do we normalise difference?

- How do we talk about diversity in Central Africa where Cameroon has 250 different languages? (in addition to the 2 primary colonial languages)

- How is wisdom found in many different places?

It is not useful to close down the debate or draw conclusions, but to note how setting of Capetown provided the African and global dimension to open up a wide intercultural exchange on the theme.