The result shows a clear picture of four focus areas that key persons in Mauritian theatre want to develop and promote action in order to achieve a sustainable theatre in development: Structural support Education Theatre in Mauritian culture Internal communication The research also shows that actions should be taken to investigate, improve or start six more fields: The sustainability of the theatre groups The key persons in theatre Undeveloped sectors National association for theatre National theatre festival National theatre The report ends with several suggestions how to reach the four, primary, objectives and the 6 focus areas. The method in use is both a part of the research and a democratic process to build a network built on consensus and unity: The future workshop. The aim of this study is to let key persons in Mauritian theatre answer the question how to create a sustainable Mauritian theatre in development. Mauritius has a good potential to grow as a theatre nation and we need to find out what must be added to create sustainability and further development. Theatre is a way of expressing and telling stories, interact and share: A process for individual growth, communication, democratic training and to take part in society. The combination of these overlapping threads provides evidence for what I call a “cosmopolitan tradition”. First, I briefly outline their contemporary trajectories, before taking a detailed look at their views on their activity, and then I conclude with an overview of their iconographic themes. I will analyse a few threads related to the conditions that lead women to become artisans of an art traditionally associated with men, and suggest that the particular attitude encountered within the patua community in Naya has enabled the more or less successful continuity of their activity up to today. Focusing particularly on the recent development of women as painters and performers of the patua folk craft in an expanded market, through a study of the acquisition of a patachitra collection by the Ethnology Museum in Lisbon, I explore the cosmopolitan impressions in the work of such women from the village of Naya.
To cite it, use the paragraphs as a reference ******* In the contemporary work done by rural patua artisans, an Indian folk art, questions about tradition and innovation are interwoven with what I call “cosmopolitan impressions”. THIS ARTICLE WAS BORN DIGITALLY, thus the pdf version lacks its multimedia elements, besides the low resolution of images.
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