HowlRound Theatre Commons: As the movement for systemic change in the theatre industry gains force, all theatre artists must examine their roles and responsibilities in the fight for equity. Costume practitioners and educators, like myself, are digging deep and asking a revolutionary question: How can we dismantle the status quo of Western-focused, chronological teaching of historical garments and move toward a pedagogy that acknowledges and honors diversity, intersectionality, and globalism?
3 comments:
I definitely agree that a silver lining of the shutdown is time to reflect. I think it is about time that the general approach as to how aspiring artists are getting instructed changes. As with anything, it will take time and a lot of effort. I advocate for inclusivity in theater, so I think further education is a great first step.
I definitely agree that a silver lining of the shutdown is time to reflect. I think it is about time that the general approach as to how aspiring artists are getting instructed changes. With the theatre industry being known for its roots in tradition and an almost overwhelming elitism, it is safe to say that most of what happens is biased. From the people who go onstage, backstage, behind the table, anyone really, are working within a system that is built upon oppressing minority groups. Specifically in costume design like the article stated, it is easy to fall within these pre-made boxes of what is considered acceptable. I admire the work that is being done to begin undoing these behaviors and give aspiring artists a better and more diverse view of the true potential the artform has to offer. I acknowledge this will take time, but beginning with redesigning the curriculum is a wonderful first step.
The biggest thing that I think about when I read this article is that costumers are not historians. Historians are taught to look at context from history in various ways, which often times help avoid bias or certain lens viewpoints, or at least allows them point out biases. I think that if costumers are going to change how they look at historical costumes, it may be wise that, at least in an academic sense, then they will need to understand how historians look at history. "A non-stop production schedule leaves little room for the contemplation of theories and innovative thinking, not to mention the ability to share that thinking with others." This line really struck me because what is that you want on a show: a historian of clothing, or a designer? While those two seem to be the same, when you add in production they simply cannot be. My response to this post would be to consider fostering a community of clothing historians, starting at an academic level, and create a new aspect of costume design and construction that is going to be needed going forward, and then working on creating a network or database of the research.
Post a Comment