1.
Knowles, R.P.: Theatre and interculturalism. Palgrave Macmillan, Basingstoke (2010).
2.
Pavis, P.: The intercultural performance reader. Routledge, London (1996).
3.
Gilbert, H.: Postcolonial plays: an anthology. Routledge, London (2001).
4.
Hwang, D.H.: M. Butterfly. Penguin, New York (1989).
5.
Bharucha, R.: Theatre and the world: performance and the politics of culture. Routledge, London (1993).
6.
McLeod, J.: Beginning postcolonialism. Manchester University Press, Manchester (2000).
7.
Said, E.: From Orientalism. In: Colonial discourse and post-colonial theory: a reader. pp. 132–149. Harvester Wheatsheaf, New York (1993).
8.
Schechner, R., Appel, W.: By means of performance: intercultural studies of theatre and ritual. Cambridge University Press, Cambridge (1990).
9.
Schipper, M.: Introduction. In: Imagining Insiders: Africa and the question of belonging. Cassell, London (1999).
10.
Pavis, P.: Introduction: Towards a theory of interculturalism in theatre? In: The intercultural performance reader. pp. 1–21. Routledge, London (1996).
11.
Schipper, M.: Insiders and Outsiders. In: Imagining insiders: Africa and the question of belonging. pp. 1–12. Cassell, London (1999).
12.
The intercultural performance reader / edited by Patrice Pavis.
13.
The intercultural performance reader / edited by Patrice Pavis.
14.
The intercultural performance reader / edited by Patrice Pavis.
15.
Harding, J.M.: The ghosts of the avant-garde(s): exorcising experimental theater and performance. University of Michigan Press, Ann Arbor (2013).
16.
Bharucha, R.: Theatre and the world: performance and the politics of culture. Routledge, London (1993).
17.
Marranca, B., Dasgupta, G.: Interculturalism and performance: writings from PAJ. PAJ, New York (1991).
18.
Zarrilli, P.B.: Theatre histories: an introduction. Routledge, New York (2010).
19.
Zarrilli, P.B.: Theatre histories: an introduction. Routledge, New York (2010).
20.
Rustom Bharucha: Foreign Asia/Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization. Theatre Journal. 56, 1–28 (2004).
21.
Mnouchkine, A., Lemêtre, J.-J., Théâtre du Soleil, ARTE France, Bel Air Media (Firm), Arte Video (Firm): La dernier caravansérail: Odyssées, (2006).
22.
Mnouchkine, A., Lemêtre, J.-J., Duplat, F., Sotnikoff, N., Maza, R.R., Picon-Vallin, B., Cunha, J.C. da, Cixous, H., Théâtre du Soleil, ARTE France, Arte France Développement (Firm), Bel Air Media (Firm), Columbia TriStar Home Video (Firm): Tambours sur la digue, (2002).
23.
Said, E.: From Orientalism. In: Colonial Discourse and Post-colonial Theory : A Reader. pp. 132–149. Harvester Wheatsheaf, New York (1993).
24.
Powell, D., Sze, F.: Sze, "How interculturalism Performs: Performativity, performability and the theatricality of interculturalism”, in Interculturalism: exploring critical issues. Inter-Disciplinary Press, Oxford (2004).
25.
Worthen, W.B.: The Wadsworth anthology of drama. Thomson/Wadsworth, Boston, Mass (2007).
26.
Hwang, D.H., DiGaetani, J.L.: ‘M. Butterfly’: An Interview with David Henry Hwang. TDR (1988-). 33, (1989). https://doi.org/10.2307/1145993.
27.
Hwang, D.H.: Evolving a Multicultural Tradition. MELUS. 16, (1989). https://doi.org/10.2307/467559.
28.
Heldke, L.: ‘Let’s Eat Chinese!’: Reflections on Cultural Food Colonialism. Gastronomica. 1, 76–79 (2001). https://doi.org/10.1525/gfc.2001.1.2.76.
29.
Highmore, B.: Alimentary Agents: Food, Cultural Theory and Multiculturalism. Journal of Intercultural Studies. 29, 381–398 (2008). https://doi.org/10.1080/07256860802372337.
30.
Stevens, A.: Stop thinking and just eat: when ‘food adventuring’ trivializes cultures, https://www.theguardian.com/lifeandstyle/2015/jun/01/food-adventuring-cultural-appropriation.
31.
Gilbert, H.: Postcolonial plays: an anthology. Routledge, London (2001).
32.
Crow, B., Banfield, C.: An introduction to post-colonial theatre. Cambridge University Press, Cambridge (1996).
33.
Girish Karnad: Theatre in India. Daedalus. 118, 330–352 (1989).
34.
Karnad, G.: Performance, Meaning, and the Materials of Modern Indian Theatre. New Theatre Quarterly. 11, (1995). https://doi.org/10.1017/S0266464X00009337.
35.
Get involved – Akram Khan Company, http://www.akramkhancompany.net/get-involved/.
36.
Sadler’s Wells Theatre - London’s Dance House, http://www.sadlerswells.com/.
37.
Sadler’s Wells Theatre - London’s Dance House, http://www.sadlerswells.com/.
38.
Inala, http://inala.co.uk/home.
39.
Introducing INALA - A Zulu Ballet, https://www.youtube.com/watch?v=C2setLx1_DE.
40.
Brau, L.: The Women’s Theatre of Takarazuka. TDR (1988-). 34, (1990). https://doi.org/10.2307/1146045.
41.
Nobuko Anan: Two-Dimensional Imagination in Contemporary Japanese Women’s Performance. TDR: The Drama Review. 55, 96–112 (2011).
42.
Takarazuka- The Final Countdown, https://www.youtube.com/watch?v=yYtm3GtuWoQ, (1999).
43.
Rose of Versailles - Ai Areba Koso, https://www.youtube.com/watch?v=ldcDN6-zi4c, (2001).
44.
Me and my Girl, https://www.youtube.com/watch?v=CytWuYSYMBs, (1995).
45.
Gilbert, H.: Postcolonial plays: an anthology. Routledge, London (2001).
46.
Roach, J.: World-Bank Drama, http://0-muse.jhu.edu.pugwash.lib.warwick.ac.uk/article/563731/pdf.
47.
Bran Nue Dae Movie, https://www.youtube.com/watch?v=RnGRdaX594k.
48.
Makeham, Paul: Singing the landscape: ‘Bran Nue Dae’. Australasian Drama Studies; St Lucia, Qld. 28,.
49.
Indigenous Hip Hop Projects – Dream big, https://www.indigenoushiphop.com/.
50.
BBC: Hip hop down under, http://www.bbc.co.uk/1xtra/tx/documentaries/hip_hop_down_under.shtml.
51.
Stavrais, G.: Aboriginal hip hop and youth identity. Australian Aboriginal Studies. 2, 44–54 (2005).
52.
FTH:K - from the hip : khulumakhale, http://www.fthk.co.za/about_fthk/about_the_company.htm.
53.
Bantjes, J., Swartz, L., Conchar, L., Derman, W.: When they call me cripple: a group of South African adolescents with cerebral palsy attending a special needs school talk about being disabled. Disability & Society. 30, 241–254 (2015). https://doi.org/10.1080/09687599.2014.997352.
54.
Gilbert, H.: Postcolonial plays: an anthology. Routledge, London (2001).
55.
Nayak, A.: After race: Ethnography, race and post-race theory. Ethnic and Racial Studies. 29, 411–430 (2006). https://doi.org/10.1080/01419870600597818.
56.
Sweden Ends Racism, http://blackexplainer.com/sweden-ends-racism/.
57.
Du Gay, P., Hall, S.: Questions of cultural identity. Sage, London (1996).
58.
Tan, M.C.C.: Acoustic interculturalism: listening to performance. Palgrave Macmillan, Houndmills, Basingstoke, Hampshire (2012).
59.
Kapsali, M.: Rethinking actor training: training body, mind and … ideological awareness. Theatre, Dance and Performance Training. 4, 73–86 (2013).
60.
Diana Taylor: A Savage Performance: Guillermo Gómez-Peña and Coco Fusco’s ‘Couple in the Cage’. TDR (1988-). 42, 160–175 (1998).
61.
Gómez-Peña, G., Fusco, C., Heredia, P., Wright, D., Authentic Documentary Productions, Newsreel (Firm): The couple in the cage: a Guatinaui odyssey, (1993).
62.
De Waarheidscommissie | action zoo humain, https://www.actionzoohumain.be/nl/productie/de-waarheidscommissie.
63.
Chikha, C.B., Arnaut, K.: Staging/caging ‘otherness’ in the postcolony: spectres of the human zoo. Critical Arts. 27, 661–683 (2013). https://doi.org/10.1080/02560046.2013.867589.
64.
Between word, image and movement : performative critiques of colonial ethnography. Témoigner:  Testimony Between History and Memory, Auschwitz Foundation International Quarterly.
65.
Millar, M.: Journey of the Tall Horse: a story of African theatre. Oberon, London (2006).
66.
Tall Horse, https://www.youtube.com/watch?v=CUbMelFpf3w.
67.
Tall Horse - YouTube, https://www.youtube.com/watch?v=CUbMelFpf3w.
68.
The "Dark Continent” Goes North: An Exploration of Intercultural Theatre Practice through Handspring and Sogolon Puppet Companies’ Production of Tall Horse. Theatre Journal. 62, 57–73 (2010). https://doi.org/10.1353/tj.0.0335.
69.
Kruger, M.: The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali. New Theatre Quarterly. 25, (2009). https://doi.org/10.1017/S0266464X09000414.
70.
Spring, J.: Sticks and strings, https://library.avemaria.edu/title/sticks-and-strings/oclc/655700343&referer=brief_results, (2010).
71.
Fleishman, M., Hinkel, A.: Rain in a Dead man’s Footprints, https://magnettheatre.co.za/productions/rain-in-a-dead-mans-footprints/, (2004).
72.
Brown, D.: Stories of Land, Land of Stories: Aboriginality, Identity and Belonging in South Africa and Beyond. In: To speak of this land: identity and belonging in South Africa and beyond. pp. 7–35. University of KwaZulu-Natal Press, Scottsville, South Africa (2006).
73.
Fleishman, M.: ‘Stories like the wind’: Recontextualising /Xam narratives for contemporary audiences. South African Theatre Journal. 19, 43–57 (2005). https://doi.org/10.1080/10137548.2005.9687801.
74.
Francis, K.: Theatre of struggle and transformation: A critical investigation into the power of oral traditions as used by director Mark Fleishman. South African Theatre Journal. 20, 102–127 (2006). https://doi.org/10.1080/10137548.2006.9687828.
75.
Halligey, A.: Re-inventing mythologies: arguments towards cultural identity in                              and. South African Theatre Journal. 19, 208–222 (2005). https://doi.org/10.1080/10137548.2005.9687812.
76.
Maio, K.: Disney’s Dolls. New Internationalist.
77.
Berggreen, S.-L.C., Lustyik, K.: Lilo vs. Dora: Interculturalism through the lens of Disney and Nickelodeon, https://pdfs.semanticscholar.org/6722/d9230e57cbf4f649b808a1afc85df848cf7c.pdf, (2004).
78.
Ward, A.: Mouse morality: the rhetoric of Disney animated film. University of Texas Press, Austin, Tex (2003).