Editorial: I Can’t Breathe

Abstract

In this editorial, the editor reflects on the current political climate in the US and its impact on theatre education. In Issue 2b, the articles focus on social justice practices for educational theatre. First are a series by theatre artists and practitioners who espouse theoretical frameworks for engaging in social justice theatre education and theatre making. Durell Cooper explores the connections between hip hop pedagogy and culturally responsive arts education in a 21st century arts education framework. Rebecca Brown Adelman, Trent Norman, and Saira Yasmin Hamidi propose ethical questions that artists and educators should consider when navigating social justice and anti-racist topics. Lucy Jeffery shares her conversation with award-winning playwright Natasha Gordon about her experience as a Caribbean-British actor and playwright whose debut play Nine Night (2018) made her the first black British female playwright to have a play staged in London’s West End. The conversation evaluates the importance of Gordon’s work and visibility on the National Theatre and West End stages. Finally, Aylwyn Walsh, Alexandra Sutherland, Ashley Visagie, and Paul Routledge present a glossary of arts education practice that they developed after analyzing the key social justice concerns faced by young people in Cape Flats, South Africa, setting them against the learning from their arts-based project, ImaginingOtherwise. The second series includes articles that look at the possibilities for social justice in drama pedagogy. Joshua Rashon Streeter considers process drama as a liberatory practice to reposition theatre educators as critical pedagogues. Catalina Villanueva and Carmel O’Sullivan analyze the critical pedagogical potential of drama in education (DIE) for the practices of Chilean teachers. Alexis Jemal, Tabatha R. Lopez, Jenny Hipscher, and Brennan O’Rourke provide a critical reflection on their work and experience providing a forum for social work students to explore social and racial justice and innovative strategies for using drama to stimulate dialogue, interaction, and change. Lastly, Amanda Brown leaves us with a provocation for race and inclusion in theatre programs: For whom are we creating a welcoming space?