Allyship is crucial to inviting stories from the margins to the centre. To prepare these stories for the theatre, key questions arise about how artists can participate. Mararo Wangai’s Black Brass at Sydney’s Belvoir theatre articulates models for participation while maintaining the central position of African knowledges, languages and peoples.
Intercultural collaboration and debate amongst dominant Anglo- or Euro- creatives in the UK and Australia is cloaked with unease. Telling one’s own stories and being an ally to black and brown creatives is one model for ethical artistic practices. Yet, working only for productions where one identifies as an insider is not necessarily conducive to artistic richness or social change.