Foreword by Rex Nettleford iii
Guest editorial by Brian Heap v
Photos viii

ADDRESS: Cannibal scholars, native informants and smugglers of disqualified knowledge: performing the Caribbean in the Northern academy
Honor Ford-Smith 8

KEYNOTE: Applied theatre: Pure of heart - naively complicit
Peter O' Connoe 23

KEYNOTE: Drama in education: finding self, finding "home"
Urvashi Sahni 37

KEYNOTE: "You're not allowed to say that"
Minefields and political correctness
Judith Ackroyd, Andy Pilkinton 49

Mediatised performance and theatre for young people: how TYP is responding to digital natives
Michael Anderson 63

The Bufoon and representation: the case of 'Oliver' in Jamaican theatre.
Tanya Batson-Savage 76

Processing Post - Colonialism: using drama to produce multifaceted art experiences from notionally mono-cultural material.
Pamela Bowell and Brain S. Heap 84

Parallel space but disparate usage negotiating language use in a bilingual society
Jeanette Campbell 95

When inuit suclpture opens into stories
Francine Chaine 104

Contesting space and power through digital drama research: colonial histories, postcolonial interrogations
Kathleen Gallagher, Isabelle Kim 115

The creative ethos of the African diaspora: performance aesthetics and the fight for freedom and identity
Clinton Hutton 127

Emancipating Shakespeare: cultural transmission or cultural transformation?
Alistair Martin-Smith, Annette Hayton and Maya Ishiura 150

Permission to speak?
Briar O' Connor 160

The ARROW programme : genesis, ideas, growth and aspiration
David Oddie 168

A quantitative research method in reception theory in reception theory in international theatre case studies
Dan Olsen 181

From neocolonial to postcolonial: implications for the practice of theatre for development
Tim Prentki 194

Creative teaching - teaching creativity
Aud Berggraf Soeebo, Laura A. McCammon, Larry O'Farrell 205

Postcolonialism, positioning and the use of drama in the teaching of French
Jean Small 216

Nian - the story of Chinese
Jeffrey Tan 222

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