Balosso-Bardin, Cassandre. n.d. #NoBordersTour. Världens Band: Creating and Performing Music Across Borders. http://eprints.lincoln.ac.uk/31486/.
Brinner, Ben. n.d. Beyond Israelis vs. Palestinians or Jews vs. Arabs: The Social Ramifications of Musical Interaction. https://www.umbc.edu/MA/index/number8/brinner/brin_0.htm.
Chang, Dongshin. 2015. Representing China on the Historical London Stage: From Orientalism to Intercultural Performance. Vol. 34. Routledge.
Chang, Dongshin. n.d. Representing China on the Historical London Stage: From Orientalism to Intercultural Performance. Vol. 34. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780203734940.
Dessen, Michael. 2004. ‘Improvising in a Different Clave: Steve Coleman and AfroCuba de Matanzas’. In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 1st ed. Wesleyan University Press.
Erlmann, Veit. 1999a. ‘Fantasies of Hope’. In Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press.
Erlmann, Veit. 1999b. ‘Fantasies of Hope’. In Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press. Electronic resource. http://hdl.handle.net/2027/heb.05911.
Erlmann, Veit. 1999c. ‘Hero on the Pop Chart’. In Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press.
Erlmann, Veit. 1999d. ‘Hero on the Pop Chart’. In Music, Modernity, and the Global Imagination: South Africa and the West. Oxford University Press. Electronic resource. http://hdl.handle.net/2027/heb.05911.
Fusco, Coco. 1994. ‘The Other History of Intercultural Performance’. TDR 38 (1). https://doi.org/10.2307/1146361.
Grant, M J, Rebecca Möllemann, Ingvill Morlandstö, Simone Christine Münz, and Cornelia Nuxoll. 2010. ‘Music and Conflict: Interdisciplinary Perspectives’. Interdisciplinary Science Reviews 35 (2): 183–98. https://doi.org/10.1179/030801810X12723585301237.
Guilbault, Jocelyne. 1993. Zouk: World Music in the West Indies. University of Chicago Press.
Hall, Stuart. 1997. ‘The Local and the Global: Globalization and Ethnicity’. In Culture, Globalization and the World-System, Rev. ed. University of Minnesota Press.
Jason, Stanyek. 2004. ‘Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation’. In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 1st ed. Wesleyan University Press.
Keil, Charles. 1994. ‘Notes on World Beat’. In Music Grooves: Essays and Dialogues. Univ. Chicago P.
Lei, Daphne P. 2011. ‘Interruption, Intervention, Interculturalism: Robert Wilson’s HIT Productions in Taiwan’. Theatre Journal 63 (4). https://www.jstor.org/stable/41411240?seq=1#metadata_info_tab_contents.
Lipsitz, George. 1997. ‘Creative Misunderstanding in Inter-Cultural Communication’. In Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. Verso.
Meintjes, Louise. 1990. ‘Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning’. Ethnomusicology 34 (1). https://doi.org/10.2307/852356.
Monson, Ingrid. 1999. ‘Riffs, Repetition, and Theories of Globalization’. Ethnomusicology 43 (1). https://doi.org/10.2307/852693.
Pavis, Patrice. 1996a. ‘Introduction: Towards a Theory of Interculturism in Theatre?’ In The Intercultural Performance Reader. Routledge.
Pavis, Patrice. 1996b. The Intercultural Performance Reader. Routledge.
Rachel Beckles Willson. n.d. Whose Utopia? Perspectives on the West-Eastern Divan Orchestra. https://quod.lib.umich.edu/m/mp/9460447.0003.201/--whose-utopia-perspectives-on-the-west-eastern-divan?rgn=main;view=fulltext.
Sharma, Sanjay. 1996. ‘Sounds Oriental: The (Im)Possibility of Theorizing Asian Musical Cultures’. In Disorienting Rhythms: The Politics of the New Asian Dance Music. Zed.
Slobin, Mark. 1993. ‘Interpolating the Interculture’. In Subcultural Sounds: Micromusics of the West. Wesleyan University Press.
Sompiboon, Sukanya. 2013. ‘Likay Aka Oni Red Demon: Encounter and Exchange of Intercultural Performance | The International Academic Forum (IAFOR)’. Vol. 2. IAFOR Journal of Literature & Librarianship. https://iafor.org/journal/iafor-journal-of-literature-and-librarianship/volume-2-issue-1/article-6/.
Taylor, Timothy. 2001. ‘Music, Technology, Agency, and Practice’. In Strange Sounds: Music, Technology, & Culture. Routledge.
Taylor, Timothy Dean. 2007. Beyond Exoticism: Western Music and the World. Duke University Press.
Theatre Journal. n.d. https://www-jstor-org.ezproxy01.rhul.ac.uk/stable/i40068692.
Urbain, Oliver. 2008. ‘Music as a Tool of Reconciliation in South Africa’. In Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. I.B Tauris in association with the Toda Institute for Global Peace and Policy Research. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000009984.
Urbain, Oliver. 2015. ‘Music as a Tool of Reconciliation in South Africa’. In Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics, edited by Olivier Urbain, vol. 19. I. B. Tauris.
Urbain, Olivier. 2008. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. I.B Tauris in association with the Toda Institute for Global Peace and Policy Research. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9786000009984.
Urbain, Olivier. 2015. Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics. Vol. 19. I. B. Tauris.
Willson, Rachel Beckles. 2009. ‘The Parallax Worlds of the West–Eastern Divan Orchestra’. Journal of the Royal Musical Association 134 (2): 319–47. https://doi.org/10.1080/02690400903109109.
Woodward, Sheila C., Julia Sloth-Nielsen, and Vuyisile Mathiti. 2007. ‘South Africa, the Arts and Youth in Conflict With the Law’. International Journal of Community Music 1 (1): 69–98. http://repository.uwc.ac.za/bitstream/handle/10566/1123/WoodwardLaw2007.pdf?sequence=3&isAllowed=y.
