The economically oppressive distance between Aotearoa New Zealand and most of the rest of the world was somewhat mitigated this year for those of us lucky southern hemisphere drama and theatre in education researchers, at least, with IDIERI 9 hosting delegates from 25 different countries, in Tamaki Makaurau Auckland, during the first week of July. Hosted at the University of Auckland’s Epsom campus, set close to Maungawhau Mount Eden an appropriately elevated location at the ‘bottom of the world’, delegates spent a week soaking up Aotearoa New Zealand’s unique culture with drama-in-education colleagues, research practitioners, writers and artists. This is the first IDIERI event to have been held in Aotearoa New Zealand and we were delighted to welcome our international guests with a powhiri, a traditional welcoming ceremony involving korero and waiata (speeches and song) led by Professor Peter O’Connor and to which Professor Tim Prentki responded on behalf of the Manuhiri (those of us being welcomed onto the campus for the first time). The Powhiri ended with an invitation to us all to share breath in a hongi, prepare to share plenty more singing, and to look forward to connecting with new friends, and reconnecting with familiar friends, many of whom had travelled great distances to be in Aotearoa for the week. ‘Six Months in a Leaky Boat’ by NZ band Split Enz (1982) became IDIERI 9’s theme song, and the lyrics seemed to reflect new meanings each time we sang it together. The concept of distance, of course, was the key theme for IDIERI 9. Specifically, the conference invited presenters and performers to consider how our drama in education practice may be shaped by our locations, or how we might conceptualise notions of travelling from a physical or affective perspective, or to consider the aesthetics and politics of distance. Whilst there was significant diversity across the keynote presentations, performances, panels, papers and workshops it became clear just how these ‘distances’ can impact our ideas and representations of self and other, identity formulation, and practice – in the contexts of aesthetic and knowledge exploration. The conference offered delegates a wealth of ways we might diminish limitations imposed on us in our drama in education research and practice by ‘distance’.

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距离暴政：教育研究所第九届国际戏剧

对于我们这些幸运的南半球教育研究人员中的南半球戏剧和戏剧界来说，今年在新西兰Aotearoa和世界上大多数其他国家之间的经济压迫性有所缓解，至少IDAMAI 9在塔玛基接待了来自25个不同国家的代表7月的第一周，奥克兰Makaurau。代表们在奥克兰大学埃普索姆校区（Epsom）校园内就座，在埃格蒙（Maungawhau）山伊甸山（Eden）附近，这座高地位于“世界底部”，在与世隔绝的地方，代表们花了一周的时间与戏剧教育的同事，研究人员，作家和艺术家。这是在新西兰Aotearoa举行的第一场IDIERI活动，我们很高兴以Powhiri的形式欢迎国际宾客，由彼得·奥康纳（Peter O'Connor）教授主持的传统欢迎仪式，涉及科雷罗和怀亚塔（演讲和歌曲），蒂姆·普伦特基（Tim Prentki）教授代表Manuhiri进行了回应（我们当中的第一次受到欢迎）。Powhiri结束时，邀请我们大家在hongi中呼吸，准备分享更多的歌声，并期待与新朋友建立联系，并与熟悉的朋友重新建立联系，其中许多人相距甚远，来到了Aotearoa为周。新西兰乐队Split Enz（1982）的《六个月的泄漏船》成为IDIERI 9的主题曲，每次我们一起唱歌时，歌词似乎都反映出新的含义。当然，距离的概念是IDIERI 9的关键主题。会议邀请主持人和表演者考虑我们的地理位置如何塑造我们的教育实践中的戏剧，或者我们如何从身体或情感的角度来概念化旅行的概念，或者考虑距离的美学和政治性。在主题演讲，表演，小组讨论，论文和研讨会上存在很大差异的同时，很清楚这些“距离”如何在美学和知识的背景下影响我们对自我和他人的观念和表征，身份形成和实践的影响勘探。这次会议为代表们提供了许多方法，可以通过“距离”减少教育研究和实践中戏剧对我们的限制。或者我们如何从身体或情感的角度来概念化旅行的概念，或者考虑距离的美学和政治性。在主题演讲，表演，小组讨论，论文和研讨会上存在很大差异的同时，很清楚这些“距离”如何在美学和知识的背景下影响我们对自我和他人的观念和表征，身份形成和实践的影响勘探。会议为代表们提供了许多方法，可以通过“距离”减少教育研究和实践中戏剧对我们的限制。或者我们如何从身体或情感的角度来概念化旅行的概念，或者考虑距离的美学和政治性。在主题演讲，表演，小组讨论，论文和研讨会上存在很大差异的同时，很清楚这些“距离”如何在美学和知识的背景下影响我们对自我和他人的观念和表征，身份形成和实践的影响勘探。这次会议为代表们提供了许多方法，可以通过“距离”减少教育研究和实践中戏剧对我们的限制。在论文和研讨会上，这些“距离”将如何影响我们在自我和他人，身份表述和实践方面的观念和表征，以及在审美和知识探索的背景下，这一点变得显而易见。这次会议为代表们提供了许多方法，可以通过“距离”减少教育研究和实践中戏剧对我们的限制。在论文和研讨会上，这些“距离”将如何影响我们在自我和他人，身份表述和实践方面的观念和表征，以及在审美和知识探索的背景下，这一点变得显而易见。这次会议为代表们提供了许多方法，可以通过“距离”减少教育研究和实践中戏剧对我们的限制。