In lieu of an abstract, here is a brief excerpt of the content:

AC/TC Currents of Theatrical Exchange Carl Weber DURING THE PAST decade a cultural phenomenon which made its first appearance in Western Europe in the fifties, finally became firmly established this side of the Atlantic, namely, the International Arts Festival. Such festivals took place during the 1984 Olympics at Los Angeles as well as in cities all over the country, from Charleston to Chicago and New York. The label indicates that they are intended to present art works and to host meetings of artists from a multitude of national or ethnic cultures. Yet there is another, probably even more constitutive aspect: essentially, these festivals are fairs, fairs in all the meanings of the term as Webster's Dictionary lists them: "1) a gathering of people . .. for barter and sale of goods; 2) a festival or carnival where there is entertainment and things are sold; 3) an exhibition, often competitive, of ... manufactured products; a kind of exposition." In other words, the arts, entertainment, and commerce become inseparably intertwined in the event. This should be kept in mind when we discuss a phenomenon which often has been connected or traced to the proliferation of international arts festivals, especially of those presenting the performing arts, a phenomenon frequently described as "transculturation." The term is as new as the phenomenon seems to appear to many observers. It is meant to signify a transfer of culture, or intercultural exchange, from one country or society to another. "Trans-fer" implies "trans-port" which, consequently, implies "import'' as well as "export"-all these being terms of trade and commerce . The term "transculturation," however, isn't merely applied to the exchanges of art works, or between artists, that take place during festivals 11 and similar occasions all over the globe. It is more generally used to signify a cross-cultural collaboration and appropriation which brings forth art works that combine elements from separate cultures and their indigenous artistic traditions. A growing trend of such intercultural activities has become especially visible in the performing arts. The term "intercultural" is used in this context to signify transactions between separate indigenous cultural systems when, either unilaterally or mutually, elements of one culture are accepted or adopted in the other culture. Similarly, "international" trade goods and services pass back and forth between the economic systems of independent nations. Performance is seen today by most people, most of the time, in the media of film and television, of audio and video recording. And the trend labeled "transculturation" has, indeed, pervaded on a global scale through the media. "Western," which in this context means European or North American ideology, its values, structure, and contents are inscribed in the predominant models for performance accepted by most contemporary societies, models that partly ingest, partly destroy indigenous cultural values and forms. Indeed, non-Western cultures have already been greatly changed by the process, as can be observed in many Asian and African nations . This victorious march of "transculturation'" across the globe-to the tunes of rock and other popular music, with the imagery of "Dallas" or game shows on its video screens-threatens to achieve an ultimate triumph of the Western cultural export business. Or, to put it in historical perspective , a second colonization of the so-called third world, inscribing the ideology of Western capitalism in the individual and communal minds of non-Western, non-white societies, is on its way. The connection of "transculturation" with the "transport" and "export " of merchandise has always been quite obvious as far as the contemporary entertainment technology and its industries are concerned. The much older media of live performance, the theatre, dance, etc.-as old as the oldest human spiritual aspirations and activities-appear to many observers less commercialized when they undergo a process of transculturation . These media seem rather to gain from it. Aren't the international theatre festivals actively promoting and glorifying the intercultural collaboration of artists? Who would deny that the increasing exchange of performances between various cultures has beneficial effects on the artistic climate of the host nations as well as on the visitor's own culture? Who would question that the proliferating contacts between actors, authors dancers, directors, and designers from all over the...

pdf

Share