Policy proposals about social change and well-being shape the implementation of applied theatre projects through technologies such as evaluation practices and funding applications. Representations of projects can, in turn, effect public discourse about who participants are and why they are or are not ‘being well’. Like public policy, applied theatre for social change has to establish a problem that needs to be solved. Drawing on debates about change in applied theatre literature, we consider how funders, governments, and communities call on applied theatre practitioners to frame particular issues and/or people as problematic. We then examine discourses of well-being in Australia and New Zealand, drawing on policy documents and funding schemes to discuss the politics of change in applied theatre in each country. We consider how the field might navigate policies, technologies and public understandings of well-being, change and social good to produce work with and for participants in neoliberalised contexts.

Closure of a forest for biosecurity purposes led to the marginalisation and disconnection of Year 6 children from a local forest of significance to them in Aotearoa, New Zealand. The marginalisation of children’s voices and concomitantly of their knowledge, ideas, and values from environmental issues can be viewed as an example of epistemic injustice, which manifests widely in the environmental area, particularly in relation to marginalised groups. To counter this marginalisation and promote epistemic justice, we explored how the creative arts involving a child-driven environmental communication project could foster children’s sense of agency by supporting the protection of a local forest affected by a tree disease. We show that the creative arts could facilitate the children’s meaningful engagement in environmental issues in a learning environment that fostered child-centric approaches that enabled children to express their visions for sustainable futures in distinctly unique ways that were relevant to them. Furthermore, enabling the children to participate as environmental communicators re-established their relationship with their local forest and re-balanced the power structures that had led to the children’s sense of marginalisation. The insights on how this child-centred relational approach can promote epistemic justice and provide a meaningful contribution to the long-term sustainable management of forest ecosystems has implications for other marginalised groups.

This paper synthesises findings from two research projects with organisations involved in arts for youth well-being. Since 2017, Aotearoa New Zealand’s government has recognised the importance of t...

When financial resources are scarce and uncertain, youth performance organisations find ways to ‘hold it together’: to carry on no matter what. Engaging critically with theories of organisational resilience, this article examines how two youth performance companies in Auckland experience and respond to a precarious funding environment. The local policy and funding context compels organisations to ‘shape up’; to become more effective in the competitive system. Within this environment, however, the promise of sustainability remains ever-elusive. An alternative response, then, is found in the different ways organisations experiment with localised, culturally responsive community and solidarity economies.

We build a rationale for a nuanced approach to raising public awareness of ecological threats through interweaving art, science, and Mātauranga Māori (Indigenous Māori knowledge). The thinking we present emerges from the first phase of a transdisciplinary project, Toi Taiao Whakatairanga, which explores the ways the arts can raise public awareness of two pathogens that are ravaging native trees in Aotearoa New Zealand: Phytopthora agathidicida (kauri dieback) and Austropuccinia psidii (myrtle rust). One of our first steps in the project was to explore understandings of "public” and “awareness” and their relevance to Aotearoa’s ecological, cultural, and political context. This collective task was about developing theory to guide the second phase of the project, in which we would commission nine Māori artists to create new works about kauri dieback and/or myrtle rust. One of the key outcomes of our collective inquiry was a realization of the limits of certain conceptions of public awareness in the settler–colonial contexts. For example, conceptions based on an unproblematized definition of “public” fail to respond adequately to the rights of Indigenous Māori tribes and subtribes to sovereignty over their lands and taonga species. We identify the need for alternatives to transactional conception of public awareness-raising. This includes alternatives that align with te ao Māori (Māori worldviews) and allow for a lack of consensus about the nature of an ecological threat or the required response. We propose that mātauranga Māori and arts practices can be combined with colonial science knowledge to promote different awarenesses in ways that are responsive to difference audiences, acknowledge different knowledge systems, hold space for contested/provisional knowledge, and support the mana motuhake of iwi/hāpū and the ngahere.

There has been a longstanding concern about the relationships between policy, funding and theatre practice in educational and community settings. Past scholarship has made evident the varied ways a relationship with policy can manifest and play out in the political, pedagogic, aesthetic and ethical values, approaches and outcomes of applied theatre practices. This includes the ways theatre can play a part in producing the problems it intends to address. This article argues for the use of critical theories to interrogate and rethink the policy-funding-practice relationship, to generate nuanced understandings and open up a space of possibility.