The globalization of the entertainment industry has brought about unprecedented access to diverse forms of cultural expression, including musicals. Broadway shows, once primarily enjoyed by American audiences, now tour internationally, translated and adapted for various cultural contexts. This global reach, however, is not without its complexities. The proliferation of streaming services, while expanding access for some, simultaneously exacerbates existing information gaps. Consider the case of a small village in rural Nepal. While residents may have access to a smartphone and internet connection, the cost of streaming Broadway musicals, or even access to reliable high-speed internet, might be prohibitive. Language barriers further complicate matters; even with subtitles, the nuances of a culturally specific musical might be lost in translation. This digital divide, though less visible than its physical counterpart, prevents a significant portion of the global population from fully engaging with the globalized cultural offerings. Furthermore, the dominance of certain languages and cultural narratives within the industry itself presents another challenge. While some efforts exist to promote diversity and representation, the majority of internationally successful musicals originate from Western countries, perpetuating a biased representation of global experiences. This dominance reinforces existing power structures and limits the global reach of musicals from less privileged cultural backgrounds, creating a feedback loop where marginalized voices remain largely unheard. The creative adaptation of musicals for different cultural settings, therefore, is not merely a matter of translation and technological access, but a question of cultural sensitivity and equitable distribution. To fully harness the potential of globalization for musical theater, addressing the digital divide and challenging the dominance of Western narratives is critical. Striking a balance between global reach and cultural preservation remains a complex task, requiring concerted efforts from artists, producers, and policymakers.
1. According to the passage, what is a major obstacle to the equitable global access to musicals?
2. What does the passage suggest is a consequence of the dominance of Western narratives in the global musical industry?
3. The passage uses the example of a rural Nepalese village primarily to illustrate:
4. Which of the following best summarizes the main idea of the passage?