Volume 5

• Selina Busby, The Royal Central School of Speech and Drama, UK
• Amy Cordileone, New York University, USA
• Ashley Lauren Hamilton, University of Denver, USA
• Norifumi Hida, Toho Gakuen College of Drama and Music, Japan
• Byoung-joo Kim, Seoul National University of Education, South Korea
• Ross Prior, University of Wolverhampton, UK
• Nisha Sajnani, New York University, USA
• Daphnie Sicre, Borough of Manhattan Community College, USA
• James Webb, Bronx Community College, USA

ISSN: 1552-5236

ARTSPRAXIS provides a platform for contributors to interrogate why the arts matter and how the arts can be persuasively argued for in a range of domains. The pressing issues which face the arts in society will be deconstructed. Contributors are encouraged to write in a friendly and accessible manner appropriate to a wide readership. Nonetheless, contributions should be informed and scholarly, and must demonstrate the author’s knowledge of the material being discussed. Clear compelling arguments are preferred, arguments which are logically and comprehensively supported by the appropriate literature. Authors are encouraged to articulate how their research design best fits the question (s) being examined. Research design includes the full range of quantitative-qualitative methods, including arts-based inquiry; case study, narrative and ethnography; historical and autobiographical; experimental and quasi-experimental analysis; survey and correlation research. Articles which push the boundaries of research design and those which encourage innovative methods of presenting findings are encouraged.

This issue of ARTSPRAXIS reflects on and responds to the issues raised during The NYU Forum on Ethnodrama: The Aesthetics of Research and Playmaking (2017). This forum is part of an ongoing series NYU is hosting on significant issues that impact on the broad field of educational and applied theatre. Previous forums have been dedicated to educational theatre (2016), site-specific theatre (2015), teaching artistry (2014 and 2005), developing new work for the theatre (2013), theatre for young audiences (2012), theatre for public health (2011), citizenship and applied theatre (2010), theatre pedagogy (2009), Shakespeare (2008), drama across the curriculum and beyond (2007), ethnotheatre and theatre for social justice (2006), and assessment in arts education (2003).

The NYU Forum on Ethnodrama invited the global community to propose workshops, papers, posters, narratives, and performances to contribute to a robust conversation about the aesthetics of ethnodrama, the practice of creating a play script from materials such as interview transcripts, field notes, journal entries, and/or print and media artifacts. Theatre artists, academic researchers, and artist-researchers came together to share ideas, vocabularies, and techniques for engaging audiences with the aesthetic presentation of data and data-based playmaking, while also discussing the opportunities and challenges that emerge when working with this style of theatre and research.

Contributions for this special issue of ARTSPRAXIS were by invitation only among participants in the Forum. Our goal was to continue the dialogue started at the Forum with a wide variety of practitioners and researchers that would enrich the development of ethnodrama.

Editorial correspondence should be addressed to Jonathan P. Jones, New York University, Program in Educational Theatre, Pless Hall, 82 Washington Square East, Rm 223, New York, NY 10003, USA.

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