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This article compares and analyses factors that impact when creating a network on both online and live networking platforms, designed as spaces for artistic and critical engagement both within Africa and beyond. As I draw on the African Womens' Playwright Network as my example, I consider how we can acknowledge the materiality of the processes and relationships involved in these kinds of networks, which as Stephansen argues, also involve the making of new publics. In this analysis I particularly reflect on the impact of using Linda Tuhiwai Smith's approach to decolonising indigenous research methodologies when creating a cross-cultural network. [ABSTRACT FROM AUTHOR]

The theatre classroom is necessarily a space in dialogue with myths about the marginalisation of theatre as an art and theatre audiences as a public. It is precisely because theatre is a marginalised discipline that curricula should incorporate the processes by which the labour of theatre artists changes value and joins the mainstream; playwrights employed in television offer a relevant study of just that. How do we revise undergraduate curricula in order to substantially address this intermediality in a way that is legible for students? And where do television and theatre meet in existing theatre courses and objectives? [ABSTRACT FROM AUTHOR]