http://hdl.handle.net/2451/75084 2026-04-11T04:44:37Z http://hdl.handle.net/2451/75131 Title: ArtsPraxis: Volume 11, Issue 2 Authors: Jones, Jonathan P. Abstract: In this issue, our contributors document and reflect on innovative educational theatre practices. Shavonne Coleman and Meriah Sage examine the pervasive absence of Black, Indigenous, and People of Color (BIPOC) narratives in the history of Theatre for Young Audiences (TYA) and advocate for restorative documentation and inclusion. Gus Weltsek and Alycia Elfreich apply a Critical Performative Pedagogical (CPP) lens to Weltsek’s work with the Living Museum: The Empires Project, a five-year inquiry with a local STEM high school in the Midwest. Amy Petersen Jensen explores the potential benefits and complications of utilizing AI in the development of theatre/drama curriculum, emphasizing the critical need for innovative research practices to maximize AI's effectiveness in pedagogy. Six incarcerated artists—in partnership with prison arts scholars and practitioners—George Chavez, Andrew Draper, Matthew LaBonte, Angel Lopez, Terry W. Mosley Jr., Brett Phillips, Ashley Hamilton, Danielle Littman, and Clare Hammoor present a new model for forging shared humanity in correctional settings: Artistic Justice (AJ). Tahnee West, Peter Wright, and Robin Pascoe explore complexities faced by drama educators striving to cultivate meaningful relationships across diverse cultures. Drawing on decolonization theories and principles of applied drama education, strategies that foster change, decolonization, and community engagement, Kaitlin Orlena-Kearns Jaskolski studies how the universal languages of theatre can be reclaimed and decolonized to create more accessible and inclusive theatre, focusing on youth and community programs in Papua New Guinea. Finally, Donna C. Seage examines two steps taken by one high school program to address the issue of unintentionally neglecting students and the impacts these interventions had on the program, the culture, and the students. 2024-12-01T00:00:00Z http://hdl.handle.net/2451/75122 Title: Editorial: On Reimagining Authors: Jones, Jonathan P. Abstract: In this editorial, the editor reflects on professional roles and their impact on theatre education. The editor then introduces this issue, in which our contributors document and reflect on innovative educational theatre practices. Shavonne Coleman and Meriah Sage examine the pervasive absence of Black, Indigenous, and People of Color (BIPOC) narratives in the history of Theatre for Young Audiences (TYA) and advocate for restorative documentation and inclusion. Gus Weltsek and Alycia Elfreich apply a Critical Performative Pedagogical (CPP) lens to Weltsek’s work with the Living Museum: The Empires Project, a five-year inquiry with a local STEM high school in the Midwest. Amy Petersen Jensen explores the potential benefits and complications of utilizing AI in the development of theatre/drama curriculum, emphasizing the critical need for innovative research practices to maximize AI's effectiveness in pedagogy. Six incarcerated artists—in partnership with prison arts scholars and practitioners—George Chavez, Andrew Draper, Matthew LaBonte, Angel Lopez, Terry W. Mosley Jr., Brett Phillips, Ashley Hamilton, Danielle Littman, and Clare Hammoor present a new model for forging shared humanity in correctional settings: Artistic Justice (AJ). Tahnee West, Peter Wright, and Robin Pascoe explore complexities faced by drama educators striving to cultivate meaningful relationships across diverse cultures. Drawing on decolonization theories and principles of applied drama education, strategies that foster change, decolonization, and community engagement, Kaitlin Orlena-Kearns Jaskolski studies how the universal languages of theatre can be reclaimed and decolonized to create more accessible and inclusive theatre, focusing on youth and community programs in Papua New Guinea. Finally, Donna C. Seage examines two steps taken by one high school program to address the issue of unintentionally neglecting students and the impacts these interventions had on the program, the culture, and the students. 2024-12-01T00:00:00Z http://hdl.handle.net/2451/75126 Title: Artistic Justice: A New Model for Corrections Authors: Chavez, George; Draper, Andrew; LaBonte, Matthew; Lopez, Angel; Mosley Jr., Terry W.; Phillips, Brett; Hamilton, Ashley; Littman, Danielle; Hammoor, Clare Abstract: Prisons are places where histories of violence and trauma reign commonplace, and opportunities for connection and recognition of shared humanity within prison walls remain sparse. However, many folks inside prison find ways of breaking down these barriers—between themselves and other incarcerated individuals, and even with correctional staff. Art and storytelling is one medium for such connection. In this article, six incarcerated artists—in partnership with prison arts scholars and practitioners—present a new model for forging shared humanity in correctional settings: Artistic Justice (AJ). The authors share the origins of this concept, how this team of artists created an AJ-focused workshop series for incarcerated individuals and correctional staff across eleven prison facilities in the state of Colorado, and the findings from pretest-posttest evaluations indicating promising outcomes: correctional staff and incarcerated individuals who participated in AJ workshops experienced increased empathy for one another, expanded perspectives, and expressed appreciation for meaningful opportunities for connection unavailable elsewhere in carceral settings. These findings offer insight into the potential of AJ as a tool and philosophy which can shift understanding of our shared humanity in carceral spaces and beyond. 2024-12-01T00:00:00Z http://hdl.handle.net/2451/75128 Title: Tokstret: Youth Arts, Activism and Decolonization in Papua New Guinea Authors: Orlena-Kearns Jaskolski, Kaitlin Abstract: In Tok Pisin, the vernacular of Papua New Guinea, ‘Tokstret’ means "be honest" or "talk straight." As the official language, Tok Pisin unifies 850+ indigenous languages while blending and borrowing words rooted in the country’s colonial legacies. This case study explores how the universal languages of theatre can be reclaimed and decolonized to create more accessible and inclusive theatre, focusing on youth and community programs in Port Moresby. Drawing on decolonization theories and principles of applied drama education, strategies that foster change, decolonization, and community engagement are highlighted. Linda Tuhiwai Smith’s (2012) framework for decolonizing research is extended into applied drama and performance to demonstrate how these practices can serve as inspirational principles for reimagining social change. The ‘Youth Arts Program’ (YAP) serves as a catalyst for new works addressing social issues, while post-YAP involvement in ‘Arts Activism,’ a grassroots collective, amplifies community voices. These efforts are juxtaposed with traditional 'mainstage' Moresby Arts Theatre performances, revealing the complex dynamics of development, decolonization, and the empowerment of young artists in a post-colonial milieu. Through applied drama and theatre performance, these initiatives embody the essence of ‘Tokstret,’ fostering honesty, dialogue, and empowerment as tools for cultural revitalization and social transformation. 2024-12-01T00:00:00Z