So far, there is no national or international lobby for theatres working in this field, comparable to the International Theater Institute (ITI), Opera Connection or Assitej, the network of children’s and youth theaters. We want to use the UNESCO Decade of Indigenous Languages to establish a global theatre network that combines regional, minorized and indigenous organisations and artists.
We aim to collaborate with different forms of marginalised languages: Regional – Minorized – Indigenous. And will call them from now on: RMI languages.
Theatre can make an active contribution to the revival of threatened RMI languages. To keep threatened languages alive, theatre is one of the most appropriate media because it provides a space for language, but also because it uses non-linguistic forms of communication. In this way, theatre in particular makes it easier for people who do not yet have a secure knowledge of the RMI language to get started. 
An international theatre network provides a platform for collaboration, visibility, advocacy, cultural exchange, and language preservation. The action points for the future work will be:
1. Collaboration and Exchange: The international network provides a platform for sharing experiences, ideas, and best practices. The partners can get inspired and learn from each other in order to increase their empowerment.
This can include co-productions as well as the staging of larger network festivals (every three or four years).
2. Visibility and Recognition: RMI language theatres often face challenges in terms of visibility and recognition and resources. By forming an international network, these theatres can amplify their voices and increase their visibility on a national and on a global scale. Global presence – local action.
Possible areas are a common social media channel, streaming of theatre performances or own formats, recommend each other and their work. Particular importance is given to the development of a common data base of network theatres (languages, theatres, artists, performance venues, plays, methods, etc.).
3. Cultural Exchange and Understanding: Theatres within the network can engage in cultural exchange programs, residency programmes, masterclasses, workshops etc in different countries or regions. This also includes the exchange of theatre texts and entire productions as well as sustainable producing.
This exchange promotes cross-cultural understanding and appreciation of the diverse linguistic and artistic traditions represented within the network. It allows audiences from different linguistic backgrounds to experience and learn about other cultures. Assistive technology for translation can be tested and shared in the network.
4. Preservation and Revitalization: Theatre serves as a powerful tool for language promotion, as it brings the language to life and reinforces its use within their communities. Language-related productions and accompanying educational programmes can be supportive activities. One focus is on offers for and with children and young people including international youth encounters.
A dialogue with older generations of speakers (outgoing generation) can not only serve to preserve the language, but can lead to and support intergenerational community programmes.
5. Policy Advocacy and Awareness: The network can serve as a platform for political Lobby work and draw attention to the importance of minorized languages in the cultural, social and political spheres. With their collective voice, theatres can engage with policy makers, governments and international organisations. The network will influence language policy, secure funding for joint projects and so raise awareness of the common issues.