Table of Contents
Abstract. 2
CHAPTER ONE.. 5
INTRODUCTION.. 5
1.1 Background to the Study.. 5
.. 6
1.2 Statement of the Problem... 7
1.3 Objectives of the Study.. 8
1.4 Research Questions. 8
1.5 Research Hypothesis. 9
1.6 Significance of the Study.. 9
1.7 Scope of the Study.. 10
1.8 Limitations of the Study.. 10
1.9 Organization of the Study.. 10
1.10 Definition of Terms. 11
CHAPTER TWO.. 15
REVIEW OF RELATED LITERATURE.. 15
2.1 Introduction.. 15
2.2 Theoretical Review.. 15
2.2.1 Critical Race Theory (CRT). 15
2.2.2 Intersectionality Theory.. 16
2.2.3 Social Justice Theory.. 16
2.2.4 Disability Studies Theory.. 17
2.3 Conceptual Review.. 17
2.3.2 Understanding Inclusivity in Theatre.. 17
2.3.3 Historical Context and Current Challenges. 18
2.3.4 Financial Constraints and Resource Allocation.. 18
2.3.5 Institutional Barriers and Structural Inequities. 19
2.3.6 Representation on Stage and Behind the Scenes. 19
2.3.7 Mentorship and Support Programs. 19
2.3.8 Policy Implementation for Inclusivity.. 20
2.3.9 Accessibility and Audiences. 20
2.3.10 Community Engagement and Collaboration.. 20
2.3.11 Addressing Intersectionality.. 21
2.4 Empirical Review.. 21
2.5 Summary of Literature Review.. 24
Chapter Three.. 25
Research Methodology.. 25
3.1 Research Design.. 25
3.2 Study Area.. 25
3.3 Population of the Study.. 26
3.4 Sampling Technique and Sample Size.. 26
3.5 Data Collection Instruments. 27
3.6 Data Collection Procedure.. 27
3.7 Validity and Reliability of Instruments. 28
3.8 Data Analysis Techniques. 28
3.9 Ethical Considerations. 29
3.10 Limitations of the Study.. 29
CHAPTER FOUR.. 30
DATA ANALYSIS AND INTERPRETATION.. 30
4.1 Preamble.. 30
4.2 Socio-Demographic Characteristics of Respondents. 30
TABLES BASED ON RESEARCH QUESTIONS.. 35
4.3 Analysis of the Respondents’ Views on Research Question one:. 35
Discussion of Findings. 47
CHAPTER FIVE.. 49
5.1 Summary of Findings. 49
5.2 Conclusion.. 50
5.3 Recommendations. 50
REFERENCE.. 51
Research Questionnaire: Challenges and Strategies for Promoting Inclusivity in the Theatre (A Case Study of National Theatre, Lagos). 54
CHAPTER ONE
INTRODUCTION
1.1 Background to the Study
Promoting inclusivity in the theatre industry is a multifaceted challenge that requires a nuanced understanding of diverse perspectives and experiences. As the theatre continues to evolve, the push for more inclusive practices has gained momentum, driven by a growing awareness of systemic biases and inequities within the field. Despite this progress, many barriers remain that hinder the full participation of marginalized groups, including racial minorities, people with disabilities, and the LGBTQ+ community. Addressing these challenges involves not only recognizing the need for change but also implementing effective strategies to create a more equitable and representative theatrical landscape.
One significant challenge is the historical underrepresentation of marginalized groups in both on-stage and off-stage roles. According to Smith et al. (2021), the lack of diversity in theatre productions and creative teams perpetuates a cycle where limited narratives are presented, often reinforcing stereotypes and excluding diverse voices (Smith, A., Johnson, L., & Carter, M., 2021). Furthermore, the economic barriers faced by underrepresented individuals in pursuing careers in theatre add another layer of difficulty, as highlighted by Thompson (2022), who notes that financial constraints disproportionately affect those from lower socio-economic backgrounds (Thompson, R., 2022).
To combat these issues, various strategies have been proposed and implemented with varying degrees of success. One approach involves re-evaluating and redesigning casting practices to ensure broader representation. For instance, Davis and Lee (2023) discuss the effectiveness of blind auditions and the role of inclusive casting directors in expanding opportunities for diverse actors (Davis, P., & Lee, K., 2023). Another crucial strategy is the development of comprehensive diversity training programs for theatre professionals, as emphasized by Williams (2022), who argues that such training can help dismantle unconscious biases and foster a more inclusive environment (Williams, S., 2022).
Institutional support and policy changes are also pivotal in promoting inclusivity. The National Endowment for the Arts (2021) has advocated for increased funding and support for projects that emphasize diversity and accessibility, which can help address some of the financial barriers faced by marginalized groups (National Endowment for the Arts, 2021). Additionally, the implementation of accessibility guidelines and the creation of supportive networks for artists with disabilities are essential steps towards a more inclusive theatre industry (Clark, J., 2023).
1.2 Statement of the Problem
Promoting inclusivity in the theatre industry is a pressing challenge marked by persistent underrepresentation and systemic biases. Despite increasing calls for diversity, many theatres continue to exhibit a lack of representation among actors, directors, and other creative professionals. This problem is compounded by historical practices that have marginalized racial minorities, individuals with disabilities, and LGBTQ+ individuals, leading to a narrow range of narratives and perspectives being showcased. According to Smith et al. (2021), this ongoing issue results in a theatre landscape that often fails to reflect the diverse experiences of contemporary audiences, perpetuating stereotypes and limiting opportunities for underrepresented groups (Smith, A., Johnson, L., & Carter, M., 2021).
The economic barriers faced by aspiring theatre professionals from marginalized backgrounds further exacerbate these challenges. Financial constraints can significantly hinder access to education, training, and career opportunities in the theatre, thereby reinforcing cycles of exclusion. Thompson (2022) highlights how economic disparities disproportionately affect individuals from lower socio-economic backgrounds, creating a barrier to entry and progression within the industry (Thompson, R., 2022). These economic obstacles contribute to a lack of diversity both in the talent pool and in the decision-making roles that shape theatrical productions.
1.3 Objectives of the Study
The main objective of the study is to examine Challenges and strategies for promoting inclusivity in the theatre. Specific objectives of the study are:
- To identify the primary challenges hindering the inclusion of diverse groups in theatrical productions and performances.
- To examine effective strategies implemented by theatre companies to foster inclusivity and accessibility.
- To develop a framework for promoting inclusivity in theatre that can be adopted by theatre practitioners and organizations.
1.4 Research Questions
To guide the study and achieve the objectives of the study, the following research questions were formulated:
- What are the specific barriers faced by individuals from diverse backgrounds in accessing and participating in theatre?
- How can theatre companies effectively integrate inclusive practices into all aspects of their operations, from casting and script development to audience engagement?
- What are the potential impacts of implementing inclusive practices on the overall artistic quality, financial sustainability and social impact of theatre companies?
1.5 Research Hypothesis
The following research hypothesis was developed and tested for the study:
Ho: Current strategies employed by theatres to promote exclusivity do not significantly contribute to maintaining an exclusive environment.
1.6 Significance of the Study
The study is important for many reasons. The following are the major stakeholders this paper through its practical and theoretical implications and findings will be of great significance:
Firstly, the paper will benefit major stakeholders and policy makers in the Theater Arts sector. The various analysis, findings and discussions outlined in this paper will serve as a guide in enabling major positive changes in the industry and sub-sectors.
Secondly, the paper is also beneficial to the organizations used for the research. Since first hand data was gotten and analysed from the organization, they stand a chance to benefit directly from the findings of the study in respect to their various organizations. These findings will fast track growth and enable productivity in the organisations used as a case study.
Finally, the paper will serve as a guide to other researchers willing to research further into the subject matter. Through the conclusions, limitations and gaps identified in the subject matter, other student and independent researchers can have a well laid foundation to conduct further studies.
1.7 Scope of the Study
The study is delimited to national theatre, Lagos. Findings and recommendations from the study reflects the views and opinions of respondents sampled in the area. It may not reflect the entire picture in the population.
1.8 Limitations of the Study
The major limitations of the research study are time, financial constraints and delays from respondents. The researcher had difficulties combining lectures with field work. Financial constraints in form of getting adequate funds and sponsors to print questionnaires, hold Focus group discussions and logistics was recorded. Finally, respondents were a bit reluctant in filling questionnaires and submitting them on time. This delayed the project work a bit.
1.9 Organization of the Study
The study is made up of five (5) Chapters. Chapter one of the study gives a general introduction to the subject matter, background to the problem as well as a detailed problem statement of the research. This chapter also sets the objectives of the paper in motion detailing out the significance and scope of the paper.
Chapter Two of the paper entails the review of related literature with regards to corporate governance and integrated reporting. This chapter outlines the conceptual reviews, theoretical reviews and empirical reviews of the study.
Chapter Three centers on the methodologies applied in the study. A more detailed explanation of the research design, population of the study, sample size and technique, data collection method and analysis is discussed in this chapter.
Chapter Four highlights data analysis and interpretation giving the readers a thorough room for the discussion of the practical and theoretical implications of data analyzed in the study.
Chapter Five outlines the findings, conclusions and recommendations of the study. Based on objectives set out, the researcher concludes the paper by answering all research questions set out in the study.
1.10 Definition of Terms
1. Inclusivity
The practice of creating a theatre environment where individuals from diverse backgrounds, including race, gender, disability, socioeconomic status, and sexual orientation, feel welcomed, represented, and valued.
2. Representation
The portrayal of diverse characters and stories in theatre productions that reflect a range of identities and experiences. This involves ensuring that characters from various backgrounds are depicted authentically and meaningfully.
3. Accessibility
The design and implementation of physical and logistical accommodations in theatre spaces to ensure that people with disabilities can access and enjoy performances. This includes features like ramps, elevators, assistive listening devices, and accessible seating.
4. Equity
The fair and just treatment of all individuals in theatre, taking into account the unique needs and barriers faced by marginalized groups. This involves addressing systemic inequalities and providing resources and opportunities to level the playing field.
5. Bias Awareness
The process of recognizing and addressing unconscious and systemic biases that may influence decision-making in theatre production, casting, and audience engagement. This includes training and education to mitigate the impact of these biases.
6. Cultural Competency
The ability to understand, respect, and effectively interact with individuals from diverse cultural backgrounds. In theatre, this involves incorporating cultural perspectives into storytelling and production practices.
7. Affirmative Action
Policies and practices aimed at increasing opportunities for underrepresented groups in theatre. This can include targeted outreach, diverse hiring practices, and initiatives designed to support and elevate marginalized artists and staff.
