How might we foster critically-minded, creative engagements with Japanese performance?
How should we interrupt historical, institutional, and conceptual paradigms that impede the cultivation of more generative approaches to traditional and contemporary Japanese performance?
How might we reimagine the relationship between Japanese Studies and Performance Studies?
What “best practices” might we locate among these disciplines’ respective interpretive tools and styles of writing to translate our work more effectively to new audiences?
How might we improve our scholarly and artistic work on Japanese performance to enrich curricula across disciplines?