It is incumbent on minority nations evolving within democratic multinational states to treat immigrant minorities fairly by enshrining a "politics of difference". Yet minority nations sometimes fear that recognizing their own internal diversity through multiculturalism policies threatens their very existence. It is vital for the democratic future of a minority nation that its feeling of being a "fragile nation" not entail the rejection of a "politics of difference." Focusing on Québec within Canada, I argue that interculturalism can provide fair treatment for immigrant minorities as well as lessen a minority nation's feeling of fragility.
This article explores interculturalism in Australia, a nation marked by the impact of coloniality and deep colonising. Fostering interculturalism—as a form of empathic understanding and being in good relations with difference—across Indigenous and non-Indigenous lived experiences has proven difficult in Australia. This paper offers a scoping of existing discourse on interculturalism, asking firstly, 'what is interculturalism', that is, what is beyond the rhetoric and policy speak? The second commitment is to examine the pressures that stymy the articulation of interculturalism as a broad-based project, and lastly the article strives to highlight possibilities for interculturalism through consideration of empathic understandings of sustainable futures and land security in Australia. Legislative land rights and land activism arranged around solidarity movements for sustainable futures are taken up as the two sites of analysis. In the first instance, a case is made for legislative land rights as a form of coloniality that maintains the centrality of state power, and in the second, land activism, as expressed in the campaigns of Seed, Australia's first Indigenous youth-led climate network and the Australian Youth Climate Coalition, are identified as sites for plurality and as staging grounds for intercultural praxis. ; Amanda Kearney
This article explores interculturalism in Australia, a nation marked by the impact of coloniality and deep colonising. Fostering interculturalism&mdash ; as a form of empathic understanding and being in good relations with difference&mdash ; across Indigenous and non-Indigenous lived experiences has proven difficult in Australia. This paper offers a scoping of existing discourse on interculturalism, asking firstly, &lsquo ; what is interculturalism&rsquo ; that is, what is beyond the rhetoric and policy speak? The second commitment is to examine the pressures that stymy the articulation of interculturalism as a broad-based project, and lastly the article strives to highlight possibilities for interculturalism through consideration of empathic understandings of sustainable futures and land security in Australia. Legislative land rights and land activism arranged around solidarity movements for sustainable futures are taken up as the two sites of analysis. In the first instance, a case is made for legislative land rights as a form of coloniality that maintains the centrality of state power, and in the second, land activism, as expressed in the campaigns of Seed, Australia&rsquo ; s first Indigenous youth-led climate network and the Australian Youth Climate Coalition, are identified as sites for plurality and as staging grounds for intercultural praxis.
The article outlines the main aspects of interculturalism in Galicia at the beginning of the 20th century. The interculturalism has been defined as the initial basis of communication, formed by a combination of social and educational environment. In modern society with many political and intercultural problems, the communicative competence and formation of tolerant attitudes towards people play a significant role. Linguistic education is one of the main tasks of educational pedagogy, linguistics, methodology, language rules, principles, and methods of teaching, ways of investigating education. The level of language culture of the personality in the mother tongue and foreign languages is evidence of the development of linguistic competence. The changes in the cultural sphere of society determine the need to investigate linguistic problems, focusing on improving language culture to achieve efficiency. The language problems have gone beyond the framework of philology and have become the general problems of society to regulate language culture in the process of social communication, social processes, the development of society as a whole system. In the political sphere, the culture of language promotes the emergence of mutual interest and respect between people of different nationalities and the stabilization of interethnic and international relations. The described innovative approach in the organization of social communication and interculturalism in Galicia space can be creatively and practically adapted in the conditions of any modern multicultural society.
The article outlines the main aspects of interculturalism in Galicia at the beginning of the 20th century. The interculturalism has been defined as the initial basis of communication, formed by a combination of social and educational environment. In modern society with many political and intercultural problems, the communicative competence and formation of tolerant attitudes towards people play a significant role. Linguistic education is one of the main tasks of educational pedagogy, linguistics, methodology, language rules, principles, and methods of teaching, ways of investigating education. The level of language culture of the personality in the mother tongue and foreign languages is evidence of the development of linguistic competence. The changes in the cultural sphere of society determine the need to investigate linguistic problems, focusing on improving language culture to achieve efficiency. The language problems have gone beyond the framework of philology and have become the general problems of society to regulate language culture in the process of social communication, social processes, the development of society as a whole system. In the political sphere, the culture of language promotes the emergence of mutual interest and respect between people of different nationalities and the stabilization of interethnic and international relations. The described innovative approach in the organization of social communication and interculturalism in Galicia space can be creatively and practically adapted in the conditions of any modern multicultural society.
In rural Araucanía secondary schools, prescriptive and formal government programmes for interculturalism – designed to overcome differentials between Indigenous and non-Indigenous pupils in educational outcomes – have had limited impact. Drawing on research across four schools, this article examines how the dynamics between state-led top-down prescriptive guidelines interface with teacher practice, school objectives, and existing racializing dynamics to produce diverse educational outcomes. Drawing on in-depth qualitative research involving over 100 pupils and teachers, this article identifies two key in-school processes that work to undercut official policy effectiveness. First, state policies do little to challenge staff and institutionalized racism, thereby perpetuating the marking of Indigenous pupils as Other. Combined with lack of political will and resources for teacher training and lesson preparation, this leaves educational inequalities in place. Second, the institutional allocation of time and resources to intercultural education reinforces widespread devaluation of indigenous knowledge among teachers, educators and public opinion. Nevertheless, the study also found that in certain schools these conditions did not prevent the adoption of pedagogies that affirmed Indigenous difference and challenged the dominance of whiteness. Informed by a critical theorisation of the power and unmarked nature of racial inequality, this article argues that whiteness is neither recognised nor challenged in rural secondary schools in southern Chile, despite its ubiquity and pervasive influence on curriculum, pedagogies and institutional arrangements. ; The authors gratefully acknowledge the Economic and Social Research Council (ESRC UK) research grant (RES-062-23-3168) which funded the research documented here. ; This is the final version of the article. It first appeared from Taylor & Francis via http://dx.doi.org/10.1080/13613324.2015.1095173
UID/EAT/00472/2013 SFRH/BD/92040/2012 ; Recent research in the fields of Ethnomusicology, Anthropology and Sociology frame the concept of lusofonia more as a return movement of the expressive cultures and memories of Portugal's former colonial territories than as a linguistic field of the spoken sphere. In addition, in Portugal, institutional racism has legitimated both sociological and cultural racism perspectives. This friction has implied, among musicians, addressing lusofonia as a space of struggle, decolonialism and intervention. If the documentary Lusofonia, a (r)evolução continues to be influential, so is the claim that the lack remains, of a sustained institutional interest in lusofonia and its musical fusions. Drawing upon the results of 6 years of field research in Lisbon, I want to shed more light on how efforts of cultural entrepreneurs have addressed issues of politics of memory to negotiate national narratives and cultural policies. By mapping social struggles over the definition of collective memory, Ethnomusicology may reveal how political categories blur and dichtomize posctcolonial cultural expression. Initiatives such as Lisboa que Amanhece, Conexão Lusófona, Lisboa Mistura and Musidanças, mentioned in this paper, project intercultural understandings of lusofonia processes as fundamental for Portugal's contemporary, national identity. ; publishersversion ; published
UID/EAT/00472/2013 SFRH/BD/92040/2012 ; Recent research in the fields of Ethnomusicology, Anthropology and Sociology frame the concept of lusofonia more as a return movement of the expressive cultures and memories of Portugal's former colonial territories than as a linguistic field of the spoken sphere. In addition, in Portugal, institutional racism has legitimated both sociological and cultural racism perspectives. This friction has implied, among musicians, addressing lusofonia as a space of struggle, decolonialism and intervention. If the documentary Lusofonia, a (r)evolução continues to be influential, so is the claim that the lack remains, of a sustained institutional interest in lusofonia and its musical fusions. Drawing upon the results of 6 years of field research in Lisbon, I want to shed more light on how efforts of cultural entrepreneurs have addressed issues of politics of memory to negotiate national narratives and cultural policies. By mapping social struggles over the definition of collective memory, Ethnomusicology may reveal how political categories blur and dichtomize posctcolonial cultural expression. Initiatives such as Lisboa que Amanhece, Conexão Lusófona, Lisboa Mistura and Musidanças, mentioned in this paper, project intercultural understandings of lusofonia processes as fundamental for Portugal's contemporary, national identity. ; publishersversion ; published
The premise of this article is that unbalanced versions of inclusion politics are usually at work in European contexts. Some inclusion patterns may be more relevant for certain aspects or levels of the education system or various models may be applied to specific ethnic groups. A necessary balancing approach is discussed in this article, drawing on examples from Italy and Romania. In this article, I will engage with the profile of the inclusion politics of education in two European contexts, at different levels and regarding various arenas: nationally relevant policy documents issued by the Ministries of Education in both countries, consolidated configurations of school practices and specific provisions, the profile of the inclusion message as presented in some school textbooks and teachers' guides. I will argue that at national policy level, both countries are difference recognition oriented, although for different rationales and following different patterns. At a lower level, a plurality of unbalanced and differently focused versions of inclusion politics inside national contexts, frequently as one-dimensional provisions, may be noticed. Yet, a more 'balanced' policy may still not be sufficient in itself. It may be, in fact, a matter of specific solutions as correcting the status quo in particular contexts and of multidimensional as substantial multicultural education to be taken on seriously in practice.
Education is instrumental in preparing students to participate in increasingly diverse Irish, European and global societies, with higher education having a part to play in the process. Issues around migration and cultural diversity have gained less attention in the higher education sector in Ireland than at primary and post primary level with a few notable exceptions. Higher education is regarded as having a "critical role" to play in terms of "enriching Ireland's cultural life, nurturing our understanding of our own national identity and that of other cultures and belief systems" [1]. Influenced by developments at European Union level, the approach adopted to cultural diversity in Ireland is one of interculturalism. This paper aims in the first instance to analyse the application of interculturalism in the Irish higher education sector from a strategy and policy perspective. It briefly traces the promotion of interculturalism as a policy response to cultural diversity at a European level, before highlighting a number of the concept's salient characteristics. The second part of the paper analyses the implementation of interculturalism in the Irish context. While critically reflecting on the higher education setting as a site where interculturalism can be put into practice, the focus is placed specifically on the question of language and the need to take it into consideration.
"There are wonders that I want to perform" says the name of Ireland's first African-Irish theatre company, Arambe Productions, which derives from the Nigerian saying ara m be ti mo fe da. The company performs stories of the African-Irish community, yet their dramatizations ponder a larger reality of an Ireland that has gone from a country of emigrants to a nation re-shaped by inward-migration. The sudden shifts brought on by the mid-1990s Celtic Tiger economic boom and unprecedented immigration have plunged the Irish population at large into a state of wondering. What does it mean that the non-Irish born population residing in the Republic grew from less than 5% to more than 12% in a little over a decade? How will Ireland model a vision of interculturalism that avoids the failures of multiculturalism in Western Europe and the U.S.? How have race and gender created a hierarchy amongst migrant communities and subjects? Through performance, Arambe Productions transforms such wondering into a process of "working together," signaling a second meaning of the company's name: harambee in Swahili means "work together." The company's collective labors aim to create a post-Celtic Tiger intercultural vision of Irish identity and belonging. But can this vision be performed into existence?My dissertation project, "Performing the `New Irish': Race, Gender, and Interculturalism in the Post-Celtic Tiger Nation," argues that performance is at the center of conceptualizing interculturalism as social policy, philosophy and aspiration in contemporary Ireland. While some might see interculturalism as referring to two cultures meeting in the moment of performance, I argue, rather, that in Ireland today, the term refers to the process of inventing a new pluralistic Irish identity, one that accommodates Irish-born as well as migrant communities. Irish interculturalism connotes practical policy measures regarding integration, access to social benefits and services, and public eduction about racism, but it also translates into cultural initiatives that stress the arts as a zone of contact between diverse populations. My research examines theatres, public festivals and arts/social organizations that make use of performance to theorize interculturalism as embodied practice. Theatre companies like Arambe, Camino de Orula Productions, Calypso Productions, and NGOs like Spirasi, Migrant Rights Centre Ireland, and the Forum on Migration and Communication bid for cultural recognition of minority groups through performance, arts, and media activism. These efforts are endorsed by diverse governmental and non-governmental bodies, which range from the Office of the Minister of Integration, the now-defunct National Consultative Committee on Racism and Interculturalism, to the Irish government Task Force on Active Citizenship. The diverse sponsors and forums for these projects, however, generate tension between state-managed visions for interculturalism and the goals of community-based or non-governmental groups advocating for an interculturalism from below which remains critical of the Irish state's treatment of minority groups and management of inward-migration more generally. My investigation of the interplay between social and aesthetic theories of interculturalism exposes the embodied challenges of analyzing relationships between the Irish state, minority communities and the nation at large. Using ethnographic methods, I position performance as the crucible in which Irish theories of interculturalism are tested and reimagined through the work of bodies who must bear the labor of social change. I trace the struggles to craft an analytical language around race and ethnicity in Ireland frames these projects, and how the intersection of gender with these former categories complicates this task. My sites range from the Abbey Theatre stage to the Migrant Rights Center's photography exhibit by domestic workers and the Dublin St. Patrick's Festival Parade in order to capture the diversity of venues in which performing bodies are called upon to embody post-Celtic Tiger social change. My case studies interrogate whether these projects have the power to push against material limits of social access, paths to citizenship and racism/discrimination and reveal that these performances frequently reinscribe relationships of power between minority and Irish-born communities by falling back on top-down models of interculturalism. Perhaps it is through the reiterative power of performance that the wonders of an egalitarian Irish interculturalism can come into being, but these moving bodies must first be situated in broader matrixes of power which index the role of race and gender in shaping the future of post-Celtic Tiger Irish identities.
Studies of intercultural performance have been very much concerned with the politics of cultural practice, the authority of cultural traditions, the location of culture(s) in the interstices of exchange, and the theorising of cultural transactions on the stage. Critical studies and performance analyses have focussed largely on the mise en scene, the visual texts, and the visuality of the intercultural disregarding, consequently, the importance of sound and music in generating performance meaning. Little has been done to critically examine the role sound and music play in performance, and the ways in which an aural experience and an awareness of the interchanges in form (musical instruments) and style (performance traditions), can serve to illuminate what is oftentimes regarded as a confusing hybrid of cultures presented on stage. This thesis thus seeks to capitalise on this need for a listening to the sounds of interculturalism and wishes to examine a reception aesthetics employing acoustemological (the study of sound environments) and akoumenological (a phenomenology of listening) frameworks of analysis. As cases in point, the thesis will examine the soundscapes, and the performativity of sound, in various 'models? of intercultural theatre in particular those by Ariane Mnouchkine, Ong Keng Sen, Lin Zhaohua and Yukio Ningawa. ; TARA (Trinity?s Access to Research Archive) has a robust takedown policy. Please contact us if you have any concerns: rssadmin@tcd.ie
Afirmacija razumijevanja i prihvaćanja između pripadnika različitih kultura predstavlja jedan od temeljnih zadataka odgojno-obrazovnih sustava u suvremenim demokratskim društvima. Kako bi se taj zadatak što uspješnije realizirao, ističe se važnost uvođenja interkulturalizma kao dimenzije cjelokupne odgojno-obrazovne djelatnosti. Polazeći od shvaćanja prema kojem odgojno-obrazovne ustanove imaju važnu ulogu u formiranju interkulturalnog razumijevanja, vrijednosti, stavova i ponašanja njenih članova, u radu se razmatra problematika promicanja interkulturalizma u školskom okruženju. Na temelju pregleda dosadašnjih istraživanja, razmatraju se različita područja i obilježja odgojnoobrazovnog djelovanja te s njima povezane pretpostavke za izgradnju škole kao mjesta interkulturalnog učenja. ; The affirmation of understanding and acceptance among members of different cultures represents one of the major tasks of the educational systems in modern democratic societies. Successful realization of that task implies the importance of promoting interculturalism as an important dimension of the entire educational activity.Drawing on the assumption according to which educational institutions play important role in the formation of the intercultural understanding, values, attitudes and behaviours of its members, this paper discusses the issue of promoting interculturalism in the school environment. Based on a review of previous findings, different areas and features of educational activity are discussed as well as related assumptions for building a school as a place for intercultural learning.
Interculturalism (IC) is presently discussed as a foundational basis for local public policy aimed at managing migration-related diversity within ethno-culturally plural societies, especially at the local level. Despite its increased saliency over the last decade, IC is neither theoretically new nor was it always intended for mere application in strictly city contexts of diversity. Rather, it has a global origin as a political basis for international relations and negotiations. In discussing these origins, this article has two main interrelated aims. Firstly, it provides an overview of the multi-scale approach of IC, with the purpose of disentangling analytically the different empirical bases where it can frame the diversity agenda. Secondly, it explores whether a lack of appreciation and awareness of this multi-scale orientation may affect IC's capacity to address the challenges of diversity governance at the local level. Methodologically, the article will undertake a textual analysis of a select number of leading documents framing its practice within the broader policy literature produced by the four main institutions that have advocated the intercultural approach within a global agenda. These are the United Nations Educational, Scientific and Cultural Organization (UNESCO) and United Nations University, on one hand, and the European Union and the Council of Europe on the other. The main findings show us the importance of a multi-scale thinking in diversity and IC studies, to avoid contributing to greater confusion in its applications.
After the fall of the communist regimes in East European countries a new trend has arisen among literary and theatrical circles of the West of a strong curiosity for and fascination with the opening up "dark mysteries" of East European politics and cultures. How do western eyes visualize and translate such intra-European cultural differences? In what ways does western theatre represent these close but only recently fully disclοsed "other" European cultures and for what ends? Βy analyzing the case of four major British plays which deal with the sweeping sociopolitical changes in ex-Eastern Block countries and which were produced on the London stage in 1990 and 1991, Ι want to argue that in the process of this intra-European cultural transference an analogous cultural slippage occurs (implying various degrees of intentionality and complicity) as in the much more discussed intercultural practices between First and Third World that have been systematically brought to our attention though the recent bloom of postcolonial theory. ; Μετά την πτώση των κομμουνιστικών καθεστώτων στις χώρες της Ανατολικής Ευρώπης μια καινούργια τάση παρουσιάστηκε, μια ισχυρή περιέργεια και μαγνητική έλξη προς τα μόλις αποκαλυπτόμενα σκοτεινά μυστήρια της ανατολικοευρωπαϊκής πολιτικής και κουλτούρας. Πώς βλέπουν οι Δυτικοί και πώς μεταφράζουν τέτοιες ενδοευρωπαϊκές πολιτισμικές διαφορές; Με ποιους τρόπους το δυτικό θέατρο αναπαριστά αυτές τις γειτονικές αλλά μόνο τώρα πλήρως προσπελάσιμες κουλτούρες και με ποιους σκοπούς; Αναλύοντας την περίπτωση τεσσάρων σημαντικών Αγγλικών θεατρικών έργων που ασχολούνται με τις πρόσφατες κοινωνικοπολιτικές αλλαγές στις χώρες του τέως Ανατολικού Μπλοκ και τα οποία παρουσιάσθηκαν στη σκηνή του Λονδίνου το 1990 και 1991, θέλω να αποδείξω ότι στη διαδικασία αυτής της ενδοευρωπαϊκής πολιτισμικής μεταφοράς συμβαίνουν ανάλογα πολιτισμικά ολισθήματα (που υπονοούν ποικίλους βαθμούς σκοπιμότητας και συνοχής), όπως στις πολύ εμφανέστερες διαπολιτισμικές πρακτικές μεταξύ Πρώτου και Τρίτου Κόσμου, στις οποίες ...