The minefield of postcolonial relationships extends into the rehearsal room and onto the stage. There are hierarchies and discrepancies in the current programming, touring, market and subsidy system that increasingly favour the wealthy and privileged. To what extent is international cooperation  structured by cultural identity or, on the contrary, does it build bridges between cultures? What decides the methods, the topics and structures involved in intercultural dialogue? How does cultural diplomacy and international cultural cooperation create equity and mutual understanding?

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