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Dissertations / Theses on the topic 'Art Social change'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Miles, Malcolm Francis Richardson. "Art & social transformation : theories and practices in contemporary art for radical social change." Thesis, Oxford Brookes University, 2000. http://radar.brookes.ac.uk/radar/items/0132de2c-a906-10e2-1e1e-c93c268829e2/1.

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Critical writing on public art in the late 20th century in the UK and USA either legitimized public art as an extension of studio art intended to widen its public, or implied a new relation to public space - as demonstrated in texts by Cork (1995) and Phillips (1988) respectively. This suggests a polarization of art's aesthetic and social dimensions. A deeper understanding of the relation between these dimensions is found in the work of Marcuse, Bloch and Adorno. Marcuse, in his early work, sees art as serving the needs of bourgeois society by displacing ideas of a better world to an independent aesthetic realm; Bloch sees art as giving form to hope, shaping a recurrent aspiration for a better world; Adorno sees the tension between the aesthetic and social dimensions of art as unresolvable, and, like Marcuse in his later work, sees art's autonomy as a space of criticality. But, as Bloch argues, conditions for change are noncontemporaneous, fostering culture which is both progressive and regressive. In this respect, Gablik's appropriations of other cultures may be seen as regressive, whilst Lippard's concern for locality offers art a basis for progressive intervention. The introduction of the local, as a point of reference alongside the aesthetic and social, leads to consideration of three cases of art practice: Common Ground's Parish Maps (1986-96), the Visions of Utopia Festival coordinated by the Artists Agency (1996-8), and 90% Crude (1996--), a project by PLATFORM in London. The originality of the thesis is in its investigation of these cases; and equally in making connections between them and the elements of art criticism and critical theory noted above.

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Mills, Josephine Mary. "Public occupations, art theory, cultural methodology, and social change." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0015/NQ47692.pdf.

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3

Leeson, Loraine. "Art, communities and social change : Excavation of a situated practice." Thesis, University of Ulster, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514471.

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Lindström, Matilda. "Contemporary Art as a Catalyst for Social Change : Public Art and Art Production in a Community of Practice." Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-113465.

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This master thesis contextualise, and discuss the contemporary art as a catalyst for change, and raises social issues through art production in the urban district Nima. Perspectives of "community", and "community of practice" affiliates with examples of placed based art, mainly mural paintings performed in the urban landscape of the community, in the stigmatised community Nima, an area in Ghana’s capital Accra. The study has identified an artistic climate that is emerging from within the community, where artists have created a system for various forms of arts education. The artistic climate is a process of social practice, and this study further discuss the interaction of people in the process of art production, which provides both local, and global perspectives of art. Issues of representation, especially who is in the position to represent others, and how others are in fact represented are discussed and analysed as well as the terminology of “African art”.

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McElfresh, Rebecca A. "Imaginations of democracy the lived experiences of artists engaged in social change /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1216566818.

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Thesis (Ph.D.)--Kent State University, 2008.
Title from PDF t.p. (viewed Oct. 26, 2009). Advisor: James G. Henderson. Keywords: art; social change; curriculum studies; a/r/tography; arts-based research. Includes bibliographical references (p. 266-276).

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Smith, Helen. "Artist as navigator : understanding how the social qualities of art influence organizational change : a methodology for art as a social practice." Thesis, Robert Gordon University, 2015. http://hdl.handle.net/10059/1377.

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• What insights can art reveal in the context of organizational change? • How do artistic practices influence the way communities address change? • In what ways can an individual artistic practice concerned with the role of art in society add new insights to theories and practices of contemporary art? These questions are approached through three interrelated methods. In the first the artist as researcher consciously addresses organizational change through her artistic practice, over a three year period, within the different communities of Woodend Barn, a volunteer-led arts centre in the North East of Scotland. The second method is a literature review focusing on the selected artistic practices of Allan Kaprow, Suzanne Lacy and Artist Placement Group. Each practice is discussed in relation to the underpinning philosophical principals of Pragmatism, in particular John Dewey’s ideas on the generative qualities of aesthetic experience. These insights inform the research as it unfolds within the organizational context of Woodend Barn, itself at a point of significant change. The third method draws on anthropologist Michel de Certeau’s theory of the act of speaking to define the details of social interaction. This leads to a conversational method of analysis that draws out the synergies and differences of the chairperson of Woodend Barn and the artist. The analysis aims to understand the qualities and conditions for social interaction in arts practice and how they affect change in organizational contexts. It has become apparent that a key condition of the artwork is an artist who is committed to a refined and informed understanding of the social dynamics of art (as evidenced in the two principal projects Fold (2012) and Lavender (2012-2014)). It is important to recognize that not all artists have these skills or are interested in adopting a social focus in their practice. The research sets out to address and influence new generations of artists and more broadly, to rethink the value of social interaction in artists practices in relation to economic values. Understanding how social interactions become generative sense-making experiences is an important quality of the practice and research findings. This resonates with Dewey’s theory that it is through the unconstrained characteristics of art that aesthetic experience can shift deeply- rooted ways of thinking. The research concludes with a social manifesto for art that outlines the conditions for individuals from different communities to act in ways that are self-directed and lead to community resilience.

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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.

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McGhee, Lydia M. "The Art of Corporate Social Narrative| Promoting Social Change While Building Markets for Products and Services." Thesis, Gonzaga University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1540897.

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For over four decades, the outdoor clothing company Patagonia has promoted environmentalist ideologies though essays and photographs published in their print media. This strategy offers an eco-friendly narrative that resonates with many brand consumers, but the art of constructing and publicizing a corporate narrative with social purpose (i.e. corporate social narrative) has yet to be explored. In this thesis, Patagonia's corporate social narrative is reviewed in light of Fisher's narrative paradigm theory, the principals of corporate social marketing, social exchange theories, and the idea that visual imagery holds significant power in consumer markets. Major themes in Patagonia's environmental narrative are identified and explored via narrative analysis of promotional material published by the company between the years of 1972-2013, with a focus on product catalogs published after 1991. The narrative research delves into how the themes of journey, calculated risk, minimalist struggle, and a connectedness to nature help Patagonia create a self-proclaimed uncommon culture and explores how this culture is used to promote behavioral change in outdoor enthusiasts who purchase from the company. Lastly, lessons from Patagonia's social narrative are detailed along with recommendations on how corporate social narrative can be used effectively in other consumer markets.

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Leodari, Talya. "Between two worlds : performance, politics & the role of art in social change." Thesis, University of Newcastle Upon Tyne, 2012. http://hdl.handle.net/10443/1371.

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This thesis draws on the literatures surrounding identity, emotion and affect in order to consider the theatrical as a site of the political. In doing this it takes an interdisciplinary approach, using concepts from international politics, philosophy, anthropology, history and theatre to construct its case. The argument opens with a review of literatures pertaining to identity and emotion, both in international relations and more widely in the literatures of political philosophy, morality and ethics. Having established that there is a sound academic footing for inclusion of both in a study of the political, the argument proceeds to explore the literature relating to the theatrical – its history, uses and potential. After a discussion of methodologies, with a focus on quantitative technologies, particularly feminist, ethnographic and mediative methodologies; the discussion moves first to an introduction to the field sites and then an analysis of the fieldwork proper. The fieldwork, conducted among theatre students and professionals in Israel and Palestine, consists of interviews and observations drawn from workshops and performances. Through this empirical research the thesis demonstrates an understanding among theatre professionals that their art performs as a political site. The thesis concludes with a summary of the proceeding work, a reiteration of the main themes and a brief reflection on underlying emotional currents within the text. My original contribution to the literature of international politics lies in my exploration of the political nature of the theatrical. This interdisciplinary approach seeks to further the direct engagement of academic politics with political life “on the ground”, as well as an expansion of the ways in which we conceptualize that political life.

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van, Rossenberg Suzanne. "Towards a transdisciplinary model for social change : feminist art research, practice and activism." Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/24206/.

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While some traditionally underrepresented artists may have recently gained access to recognition and visibility, this has not generally led to broad, diverse representation and participation. Numerous ‘feminist art’ researchers, practitioners and activists working in an interdisciplinary tradition have critically addressed social inequality in the arts. However, even research, practice and activism that challenge dominant norms can serve an economic system that thrives on perpetuating inequality. The production of ‘art’ does not escape, and often contributes to, unwanted socio-political and economic consequences. This thesis argues that combinations of art research, practice and activism can play a critical role in the attainment of social equality inside and outside the arts, building on feminist critiques of dominant aesthetics and feminist efforts to restructure art canons. It recommends that feminist art stakeholders expand their collaborations outside the arts, in order to work with researchers, practitioners and activists from other disciplines. The proposed transdisciplinarity, in which feminist art plays a key part, can help avoid new forms of exclusion and discrimination that can emerge when the multiple, intersectional positions of marginalised individuals remain unrecognised. It is recommended that primary or empirical research is used to help achieve intended outcomes. The thesis presents a novel approach to addressing social inequality, within and beyond the arts, by exploring the transdisciplinary potential of feminist art, contextualising feminist art as a restructuring currency, and calling for monitoring and evaluating the impact of feminist art. Original cartoons are included to illustrate the proposed feminist research reflexivity and transdisciplinarity. The proposed approach can help feminist art researchers better differentiate the multiple values of ‘art’, recognise broader selections of traditionally marginalised artists, and dismantle out-dated ideas of Great Art.

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Gabriella, Johansson. "Participatory Art for Social Change? : A study of the quest for genuine participation." Thesis, Malmö universitet, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36700.

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A number of theories suggest that participatory arts based approaches have the potential to contribute to development and social change. However, the nature of participation and participative approaches is multi-layered and complex, and critics have voiced concern for depicting participatory art initiatives in an oversimplified, uncriticised positivistic manner. The danger of such assumptions lay in the risk of manipulation, where non-genuine participation could contribute to the reinforcement of oppressive power structures and the dominating hegemony. This study explores the intersection of art, participation and development, and further aims to discuss the process of identifying the emancipatory possibilities and limitations of participatory art for development and social change. Using a combination of a constructivist case study approach and critical discourse analysis, two participatory art organisations are analysed with the intention to define each organisations’ understanding of the nature of participatory art, and further how this is reflected in the implementation of their work. The findings suggest that both organisations, to a certain degree, communicate an understanding of participation that reflect previous theories on genuine participation. Additionally, the findings suggest that this understanding is reflected in the practical work of the organisations.

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McElfresh, Rebecca Ann. "Imaginations of Democracy: The Lived Experiences of Artists Engaged in Social Change." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216566818.

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Smith, Alison. "Raising environmental awareness through performance art." Online pdf file accessible through the World Wide Web, 2007. http://archives.evergreen.edu/masterstheses/Accession86-10MES/Smith_A%20MESThesis%202007.pdf.

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Wallmon, Monika. "A Manifesto for Anarchist Entrepreneurship : Provocative Demands for Change and the Entrepreneur." Doctoral thesis, Uppsala universitet, Företagsekonomiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-224086.

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This manifesto takes a broad and critical approach to entrepreneurial research. The author consciously uses a provocative way of arguing for the importance of challenging received academic wisdom about entrepreneurship. It is a manifesto that spells out why we should question the idea that entrepreneurship research is neutral. It is the academic's privilege to ask questions; hence the appeal here to critical theory, familiar from other traditions than business management, and a useful corrective when considering the dominant and hegemonic perspectives in entrepreneurship research. The manifesto presents entrepreneurship as something that goes far beyond market-oriented business to an enterprising spirit that could keep society self-reflecting and self-critical by questioning what it takes for granted; mobilizing the entrepreneurial energies of those who voluntarily marginalize themselves–individuals and groups who are not afraid to stand out, channeling their self-confidence to defend values that contrast the dominant ones. They are to be found among performance artists practising social art, "extreme" entrepreneurs, and creative anarchists who take society itself as their target when trying to instigate change. When the entrepreneurial focus is not the market per se, but rather the social norms and values in which economic activity is embedded, the entrepreneur's task becomes to challenge whatever is taken for granted–an incitement that is as much social as economic. Thus, the entrepreneur as a provocateur takes on the most established institutions, her only guiding principle being to question whatever principles that society unthinkingly espouses, whatever is taken for granted. Unlike market entrepreneurs, who appreciate institutions since they provide an otherwise unknowable environment with basic "rules of the game", provocative entrepreneurs question even the most formal, long-standing institutions. Their motivation is a generic obstinacy, and their vision is to be recognized for making people aware–and for their actions, even as they rub saltpetre in society's wounds. Entrepreneurship in the form it is presented in this manifesto asks the awkward question or presents the uncomfortable truth, forcing all to take a long hard look at themselves in a cold, self-critical light. The essays here cover a variety of forms of anarchist entrepreneurship–all with a strong driving spirit. The manifesto aims to stimulate entrepreneurs and researchers, as well as politicians and citizens, to engage, to initiate, and to act, all in the name of the society.

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Kiessel, Amada J. "Social change and complex systems : the art of participatory development in rural Sri Lanka /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2007. http://uclibs.org/PID/11984.

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Gu, Sonja. "To Reveal, Remember and Expose - exploring Heritage and Social Change from an Art perspective." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23307.

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The general concept of communication for development is that it explores the use of communication – both as a tool and as a way of expressing processes of social change. Artcan be regarded as a way of communication, and to use the arts in the field of communication for development is not new. Art as a force in social change has a long history.The purpose of this thesis is to take a closer look at the art project To Reveal, Remember and Expose and make an exploration of how or if an art project can facilitate new awareness,primarily around memories, heritage, identity and social change among project participantsand city inhabitants encountered by the project. The objectives of this thesis are to investigate the following questions: What kind of awareness will the participants get out of the project? Can the project create a new awareness in terms of memory and heritage? How does the project connect and relate to culture, identity and city space?Communication theory, concepts of culture and representation, identity and space in the formof private and public space are presented. Performance art and theory, art intervention, sitespecific art and tactical media are elaborated upon. The primary methodology used isparticipatory observation, which has been applied on the planning, actions and discussions ofthe project. An interview with the artist behind the project and a structural content analysis oftexts written by the students that participated in the art project will complement theparticipatory observation.The analysis of the project showed that the project could create awareness among itsparticipants, especially about people, time and space. The actions also gave some insight and awareness concerning memories and heritage of some objects and places. The projectconnected and related to culture, identity and space in different ways. There were similaritiesto tactical media as it create situations were criticality could occur, but it was hard to see awhole picture of the outcome as it was not possible to know what the “audience” thought. Alltopics are relevant in communication and development and social change, but the thesis wasnot able to show that the project could give access to ways of expressing processes of socialchange. For further research it is of relevance to consider the magnitude of social change anart project can bring, and take into consideration that social change usually take time and ishard to find in a short period of time.

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Gibbs, Levi Samuel. "Song King: Tradition, Social Change, and the Contemporary Art of a Northern Shaanxi Folksinger." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371429829.

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Bush, Melissa Ann. "Art from the Macchiaioli to the Futurists: Idealized Masculinity in the Art of Signorini and Balla." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5655.

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Beginning around 1850, Italians found themselves in the midst of an identity crisis. Europeans in France and England had surpassed Italians in terms of political, economic, and social progress. Italians seemed trapped in the past, clinging to their magnificent artistic heritage. However, new cultural and social movements were on the rise in Italy that attempted to throw off the domination of other European entities and forge a promising future for Italy. The Macchiaioli, a group of Italian modern artists who painted from 1853 to 1908, were the first group to address contemporary social issues such as class struggle and national weakness. Their art called for progressive change and arguably influenced how the later Italian Futurist movement would address similar concerns beginning in 1909. One of the Macchiaioli, Telemaco Signorini, advocated the development of new technologies and industries—dominated by men—in realist paintings from 1853 to 1901. Futurist artist Giacomo Balla gained recognition for promoting similar ideas in a more radical fashion. Most art historians believe that the Futurists were influenced by trends originating in Western Europe, specifically the French avant-garde. This thesis argues that the Futurists were significantly influenced by an Italian tradition that originated with the Macchiaioli. The Macchiaioli were animated by a nationalistic fervor and a desire to create a strong and unified Italian state. They used art and literature to advance progressive ideals based on masculine acts. The Futurists responded to similar stimuli in their day. In the absence of a powerful national identity, Signorini and Balla employed modern artistic styles to idealize masculine solutions to social problems. Both ultimately foresaw a world in which technology, mastered by men, would elevate Italian society.

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Tung, Wei Hsiu. "Art for social change : the role of artist-in-residence schemes in challenging Taiwanese identity." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272095.

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Hope, Charlotte Sophie. "Participating in the 'wrong' way? : practice based research into cultural democracy and the commissioning of art to effect social change." Thesis, Birkbeck (University of London), 2011. http://hdl.handle.net/10059/2004.

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Through this practice based research I argue that cultural democracy as a way of thinking contests dominant models of commissioning art to effect social change. A method of generative metaphor of critical distance emerges through four projects based on a contextual and theoretical framework that tests the conditions for recognising cultural democracy as a critical practice. Cultural democracy is distinct from the democratisation of culture, which means providing free, accessible professional culture to all. The socially engaged art commission is, I argue, an example of the democratisation of culture based on predefined economic, aesthetic and social values. Cultural democracy disrupts expected forms of participation and communication of culture, drawing attention to these values. As an uninvited act of disobedience, it is thought and practised as individuals reclaim the right to express themselves, creating conflicts with expected norms of behaviour. This research project began in 2006, nine years into New Labour's administration, and reflects an urgent question of the time: what are the implications of increasing dependency on a culture of commissioning art to effect social change that might perpetuate, rather than radically rethink, social injustices' These concerns are even more significant in a political and economic climate where public funding for critical, non-conformist participation in culture slips further down the agenda. My own career is a symptom of New Labour's neoliberal policies of social inclusion and the arts. A new period of 'austerity' may imply fewer paid opportunities for this professional class of socially engaged art workers, coupled with a distancing of the recognition of cultural democracy as a possible alternative, with further reliance on free, precarious cultural labour. For this reason, I hope this research will be of use to those who also find it an urgent task to address these issues critically and practically.

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Turner, Charlotte. "Exploring Social Issues and Value Systems in Contemporary Art Education." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/16.

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The purpose of the study was to field test a unit of lessons in which students explore how a variety of social issues and value systems impact the meaning expressed in their artwork. By exposing students to different systems of belief, their historical contexts, and providing opportunities for students to discuss, research and symbolically express meaning I hope to develop critical thinking skills; promote increase in the social conscience of teenagers; help students develop critical thinking skills; promote student active involvement in their community at large; encourage social activism; and help students become part of the larger global community. The study utilized pre and post written tests, student artwork, student written responses and an auto-ethnographic approach to document student outcomes. Although evidence of progress was observed there is a need for additional research about ways art education might be used to assist students in the development of a social conscience and awareness of the global community.

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Queen, Irene T. "Green Bonds and Climate Change: State of the Art or Artful Dodge?" Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1470352085.

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Jones, Pearl. "Analysing visual representations in the North Korean Refugee Movement for Social Change and Justice." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22987.

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Art has the ability to give voice to the vast number of ordinary citizens suffering undertotalitarian rule in the Democratic People’s Republic of Korea, both past and present. Thispaper uses a mixed-analysis approach to examine three selected examples of visualrepresentations concerning the North Korean Refugee Movement in order to illustrate howArt functions as a strategic component of C4D, and how it can be effectively used by socialmovements as a way of framing movements’ identities in collective action, promotingawareness and enhancing resource mobilisation through the emotive communication ofknowledge. Art has been found to play an important role in the communication and transferof knowledge by creating powerful emotions and providing a voice to the otherwisevoiceless. Visual texts can be used strategically by social movements in the area of C4D toreinforce/create a collective identity and aid in movement participation by enhancingsolidarity and self-assurance while creating motivation for collective action.

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Potash, Jordan Seth. "Guided relational viewing: art therapy for empathy and social change to increase understanding of people livingwith mental illness." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44547924.

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Lookofsky, Sarah Elsie. "No such thing as society : art and the crisis of the European welfare state /." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3386699.

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Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed January 19, 2010). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 243-258).

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Bonine, Kathleen Anne. "Culture contact change and continuity: The Mohave Indians." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/673.

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Beare, David Merritt. "Social art effect : the a/r/tography and complexity of theatre education learning systems, developmental stages, and change mechanisms." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/39663.

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This study examined how the Compassion Project, a collective theatre and social learning program, fostered positive youth and group development. The Compassion Project involved over 200 secondary students who participated in four theatre-making and social learning phases, where they inquired upon the topic of safe and caring schools. Through the process of collective theatre-making, students co-created two original plays (The Flip Side and Focus) about their social and emotional experiences in school. A/r/tography, the arts education research methodology for this study, emphasizes living inquiry and reflective practice through the examination of the in-between spaces of art-making/researching/teaching (a/r/t). Expanding upon the field of a/r/tography, this study introduces the rendering of the fourth wall as a theatre education research lens. By conceptualizing the theatre classroom as a stage, the rendering of the fourth wall directs attention to several perspectives: to the students, teacher-directors, players, and audience on both the classroom and stage sides; to the spaces in between the imaginary world of the play and the real life experiences of the inquirers; and, to the theatre-making and reflective practices. Based on observations, interviews, circle talks, and students’ written reflections, stories, and scripts, the data are analyzed and presented throughout the dissertation. The findings are conceptualized as the social art effects, which are the benefits that result from students’ social and theatre-making actions and interactions. The conceptualization also combines psychological, pedagogical, and theatre-based theories, such as positive psychology, complexity in education, and collective theatre. As a way to organize the data, the findings on the social art effect are categorized into three components: learning systems, developmental stages, and change mechanisms. This study illustrates how students’ social conditions are critical, and precede learning conditions. Furthermore, this study emphasizes the importance of integrating social learning and complex systems theories into the curriculum as a way to optimize learning spaces and to foster positive youth and group development.

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Rowley, Ben. "Festival or carnival? : the 2002 Adelaide Festival of the Arts and cultural activism /." Title page/ table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arr8838.pdf.

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Tarawneh, Aram. "Entrapped Between State and Tradition: The Effects of Graffiti and Street Art on the Jordanian Society." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21094.

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The last seven years have been a transformation point for graffiti and street art in Jordan. Due to the constant inequality that women face in Jordan, graffiti and street artists grabbed the first opportunity presented to them in order to address these issues, when the Baladk Street Art Festival took place in the capital of Jordan, Amman. They used this festival as an opportunity to spread awareness and tell stories related to inequality as well as claim their rights. Resistance from conservative groups in the society towards these murals resulted in more restrictions from the municipality about the content of them. However, artists did not back up and fought their way to keep their art on the city’s walls, but they had to work harder in order to disguise the messages they wished to send to the public. Social change was used as the main concept to follow in this thesis in order to arrive at a conclusion that shows the change that had taken place in Jordan due to graffiti and street art, especially social change regarding ideas and social movements as well as political processes. In order to get the people’s, the municipality’s and artists’ perspectives, qualitative methods were used such as interviews and a survey. Results showed that the municipality's position on the effects of graffiti and street on the society as well as the strict regulations are partially the same. In the meantime, interviews with artists and the survey showed the struggle the artists go through when painting and also the change in the people’s behavior that occurred in the last seven years, from the start of the project until now. The survey’s results showed that most of the people understood the exact meaning of the murals and some respondents interpreted the messages according to their experiences. Therefore, it was concluded that graffiti and street art can serve as a prospective tool to drive social change in the Jordanian society, yet not solitarily. Different aspects, such as people’s behavior, shifting norms as well as a change in laws and policies need to work hand in hand in order to achieve the desired change and cause a social and cultural evolution.

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Diederich, Jill. "Trash to Treasure : Art between Contemporary and Conventional Ecological Practices in Arkhangelsk, Russia." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-365195.

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Recycling and solid waste management are a serious problem in the Russian North. The necessary infrastructure, as well as the awareness of the citizens is missing to resolve this problem efficiently. Artists and environmental activists have therefore looked for a way to make people aware of the need for recycling and initiate social change in this regard. The medium that has been chosen by activists and artists alike is art. By involving people in creating an art object or by presenting art to them, the activists and artists hope to initiate awareness concerning our consumption patterns and, like this, show them that recycling is one of many solutions. This thesis should demonstrate how intertwined the connections between the different groups of people, but also with the (art) objects are. This is done by drawing on the actor-network-theory by Bruno Latour as an analytical tool to understand these connections. Key component in this theory, as well as the artist-activist- collective is reassembling. By constantly reassembling people into new projects, as well as household items into art objects, the collective manages to remain visible to the public and to be flexible enough to react to changing needs.

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McKane, Antoinette. "Tate Liverpool as a force for social renewal? : a critical study of art museum education, expansion and urban change (1988-2008)." Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627625.

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This thesis presents the research undertaken for an AHRC Collaborative Doctoral Award between Tate Liverpool and the University of Liverpool's Centre for Architecture and the Visual Arts. By making use of the direct access to unpublished institutional records and original observations of contemporary practice permitted by this collaboration, this thesis aims to provide insight into, and enhance understanding of, the specific social relations created and maintained by Tate Liverpool, both within and beyond the museum, throughout its history. The first section of the thesis begins with two accounts of Tate's institutional history. Chapter one presents the rationale behind the founding of Tate Liverpool in the 1980s, by considering the establishment of the Liverpool branch in relation to a much longer history of expansions to Tate's original Millbank site. Chapter two presents a history of Tate Liverpool's educational practice, from 1988 to 2008, by documenting the establishment of a constructivist learning methodology at the museum and the development of several education programme strands throughout the first two decades of operation. The accounts of Tate's institutional history are supplemented, in the same thesis section, by two contextual chapters intended to form the socio-political backdrop for the preceding institutional histories. Chapter three offers a context for understanding the social significance of Tate Liverpool's founding, by examining the wider circumstances surrounding the museum's arrival in Liverpool amid a period of tumultuous urban change resulting from the decline of Liverpool's traditional industries. Chapter four provIdes a backdrop for understanding Tate Liverpool's development throughout its first twenty years, by considering the significant characteristics of the distinctly neoliberal governance of national cu Itural institutions throughout this time. The second section of the thesis draws on the information provided in the preceding historical accounts and contextual studies to offer a critical assessment of Tate Liverpool's educational practice and the museum's role in urban change. This assessment is undertaken across the last three chapters of the thesis. Chapter five offers a critical case study of a recent example of Tate Liverpool's integrated educational-curatorial practice, by examining the planning, implementation and reception of the exhibition The Fifth Floor: Ideas Taking Space (2008). Chapter six undertakes a broader historical critique of the museum's educational methodology and the practice of classifying the public according to learner categories. Chapter seven provides a critical assessment ofTate Liverpool's role in urban change, by analyzing the distinctly postmodern aspects of the museum's display practices, architecture and position on Tate Liverpool's iconic Albert Dock.

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Tan, de Bibiana Marcus. "Changing Lenses: Using participatory photography for wide-angle intergroup perspectives on peace and conflict for social change." Thesis, Uppsala universitet, Institutionen för freds- och konfliktforskning, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326796.

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The potential for art in peacebuilding has shown success but not complete acceptance in the peacebuilding field. Participatory photography’s method of photovoice has shown effective as a unique participatory action research tool able to allow users to communicate deeply on sensitive subjects with potential to influence larger social change. Participatory photography programs involving intergroup conflict or tensions presents an important relational component for practitioners and stakeholders to respond to, however the factors which lead to successful collaborative action, an ambitious outcome is not yet known. This thesis examines why some participatory photography programs involving intergroup conflict or tensions can reach collaborative social action more easily than others. A structured focused comparison tests a theorized positive relationship between program duration and achievement of collaborative social action. The findings give moderate support to the hypothesis, as a low program duration shows a challenge to reach collaborative social action and a mid-range program duration proves able to achieve a high level of collaborative social action. On the other hand, an extreme high program duration can reach social action but it is not collaborative. Analysis considers some other factors affecting collaborative social action such as context and program design factors, which suggests the need for further testing to inform better practical designs of future participatory photography programs.

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Keys, Kathleen. "A search for community pedagogy." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060041293.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xii, 260 p.: ill. (some col.). Includes abstract and vita. Advisor: Christine Ballengee Morris, Dept. of Art Education. Includes bibliographical references (p. 236-246).

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Thomas, L'lia E. "Youth Art Ambassadors| A Youth Participatory Action Research Project Using Social Justice to Incite Change in Classrooms where Teachers Teach Young People of Color." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638632.

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This is a qualitative case study using youth-based participatory action research as a model. The author views the youth-based participatory action research through both a social justice and multicultural lens. The prevalence of Eurocentric ideals in society and in the classroom are addressed and solutions on how to remedy these ideals to foster a greater sense of awareness to discrimination, encourage positive ethnic identity, and increase self-esteem are some of the issues addressed in this research. Instead of approaching the research individually, the researcher joined ranks with middle school students to help research these issues as she felt they were important in improving her practice as an educator as well as empowering the students who participated in conducting the research. Both researcher and participants worked together to inform each other and broaden awareness of issues. Some outcomes of this study included empowerment of female adolescents, awareness of when to speak up for oneself, adolescents collaborating with teachers and administration, and teachers implementing instructional strategies based on student feedback.

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Haglin, Anna Marie. "Unother." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5489.

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Bluck, Emily C. "Mapping Community Mindscapes: Visualizing Social Autobiography as Political Transformation and Mobilization." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/56.

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Historically, autobiography has been used to perpetuate neo-liberal ideologies. Yet, when autobiography becomes social and is used to engage political communities of color, political transformation is possible. This project, through the collaborative visualization of Asian American social biography using pedagogical and relational methods as a means for engagement, seeks to destabilize dominant notions of time and space, and provide a mechanism for the retention of and documentation of institutional, and social histories using the Asian American Student Union at Scripps College as the site for political praxis.

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Berila, Elizabeth. "The art of change: Experimental writing, cultural activism, and feminist social transformation (Carole Maso, Gloria Anzaldua, Theresa Hak Kyung Cha, Anna Deavere Smith)." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.

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Jiménez, Sequeiros María. "Arte de Contexto y Acción Social. Prácticas artísticas colaborativas en el contexto social español a comienzos del siglo XX." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/398148.

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Vivimos en constante proceso de cambio, de transformación de la ciudad contemporánea. Las megaciudades futuras tendrán una mayor concentración de poder social, con el consiguiente aumento de procesos de exclusión. Si consideramos el espacio público como el termómetro que mide la actividad social y da información sobre la deriva mundial, podemos entender que sea un medio idóneo para trabajar el cambio social; el lugar donde las relaciones humanas son cada vez más escasas y complejas. Estamos inmersos en un sistema competitivo, donde se malgastan los recursos y se da la espalda al bien común. Todo esto ha traído como consecuencia, un deterioro tanto en lo social como en lo estructural y por supuesto en lo medioambiental. En este contexto, es fácil entender el interés de artista por las practicas colaborativas en el espacio público, en los últimos años; el resurgimiento de grupos de acción comprometidos, que se plantean transformar nuestro degradado entorno más próximo, en espacios de comunicación y de reacción. En un mundo que día a día avanza hacia lo global, lo local adquiere se convierte en un punto de mira. Lo político deja de ser lo extraordinario para convertirse en lo común, provocando la disolución del arte en el mundo renovando su especificidad. A lo largo de la historia ha habido multitud de tentativas por parte de los artistas de utilizar el arte como una herramienta al servicio de la sociedad. Hoy vuelven a formarse y quizás con más fuerza, grupos de artistas con vocación de activistas políticos, artistas que quieren participar en el cambio del sistema; movidos por la indignación que lleva a renovar el compromiso con el mundo y con la vida. Trabajan para reconvertir sus espacios comunes, en espacios de creación colectiva, mutable y flexible, con capacidad de adaptación a las necesidades que surjan en la comunidad. En definitiva devolver el espacio público al usuario. Este tipo de práctica, donde intervienen directamente creadores provenientes tanto del mundo de las artes como de las humanidades, puede ser muy interesante, en un momento en el que claramente se produce una deshumanización, una despersonalización de nuestro entorno más próximo. Puede ser analizado desde muchos puntos de vista o sectores de acción y pensamiento, como la sociología, antropología, psicología, filosofía, urbanismo, geografía, arquitectura, diseño y por supuesto el arte. Este modo artístico provoca un replanteamiento del concepto Arte y obliga a cuestionar el papel del artista. Se plantean 4 preguntas claves: ¿La potencialidad subversiva del arte tiene el suficiente poder para transformar la sociedad? ¿Posee el arte, de manera intrínseca, la capacidad transformadora ? ¿Tiene herramientas el artista para remover la sociedad y provocar el cambio? ¿Pueden las prácticas artísticas sociales adecuarse y organizarse para convertirse en el motor del cambio social, sin dejar de ser arte? Con intención de dar respuesta a esta serie de preguntas se ha desarrollado este trabajo de investigación. Está centrada en las prácticas artísticas colaborativas dentro del amplio arte contextual. Son prácticas que de manera horizontal, generan métodos de trabajo, modos de hacer como respuesta de la comunidad ante un problema común. Hacer visible el problema, articular públicamente las respuestas y descubrir nuevos estrategias, nuevas formas de hacer política, que permitan ser reapropiadas en otros contextos y puedan seguir funcionando sin la presencia del artista. Estas prácticas motivan el análisis crítico y trabajan a partir de la empatía para facilitar la comunicación y propiciar el debate. Son unas prácticas ligadas al terreno pedagógico, lo que refuerza el interés por el tema.
Considering public space as the thermometer that measures social activity and gives information about world disorientation, we should understand that it is the ideal means for working towards social change. Both social and structural deterioration are being produced and this, of course, is also environmental. In the course of history there have been multiple attempts by artists to use Art as a tool at the service of society. Today, groups of artists with the vocation of political activists, motivated by indignation, have regrouped, perhaps with greater strength than ever before, and resolved to participate in a change of system. Renewing their commitment with the world, they are working to reconvert public space into spaces of mutable, flexible collective creation capable of adaptation to the necessities of a specific community and thereby returning public space to its users. This type of practice awakens the interest of many areas of action and thought, sociology, anthropology, psychology, philosophy, urbanism, geography, architecture, design and of course, Art. This artistic mode provokes a reconsideration of the concept Art and forces us to question the role of the artist in this world. Does the subversive potential of Art have sufficient power to transform society? Does art intrinsically possess the capacity to transform? Does the artist have the tools to stir society and provoke change? Can social artistic practice adapt and organise itself to become the motor of social change without renouncing Art for art´s sake? This research has been carried out with the intention of answering these questions. It centres on collaborative artistic practices within the scope of contextual art. These practices motivate a critical analysis, facilitate communication and encourage debate. They are closely associated with the pedagogic area which duly reinforces its interest.

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Mpondi, Douglas. "Educational change and cultural politics national identity-formation in Zimbabwe /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1088187882.

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Esra, Kazem. "BEYOND THE STATED FUNCTION: Showcasing, through everyday objects, social obstacles imposed on Qatari female youth." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3141.

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This critical design project showcases obstacles that the Qatari culture and society impose on their female youth, hindering them from becoming independent individuals. It critiques the society and its social pressures. The project stimulates people to think by challenging their assumptions and perceptions, specifically social perception and judgment, family authority, and gender favoritism. This is achieved through hybridized accessories that are embedded with a meta-meaning that arouses curiosity, invites questions, and stimulates thoughts. Through the design of these appealing, high quality, and functionally viable everyday accessories, the project aims to communicate the social and cultural forces which impede Qatari female youths’ becoming individuals who dream, achieve, and thrive.

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Cerdera, Pablo Miguel. "Healing and Belonging: Community Based Art and Community Formation in West Oakland." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1436684169.

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Barbera, Lucy Elizabeth. "Palpable Pedagogy: Expressive Arts, Leadership, and Change in Social Justice Teacher Education (An Ethnographic/Auto-Ethnographic Study of the Classroom Culture of an Arts-Based Teacher Education Course)." Antioch University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1255357023.

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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

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Goetz, Marti Sue. "Influencing Attitudes Toward People with Developmental Disabilities Using Arts Based Research." Antioch University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1325723872.

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Ryu, Sang. "Multi-culturalism & Alzheimer’s Disease: Patient-centered Design as a New Care Model for Multi-cultural Patients with Alzheimer’s Disease." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3119.

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The multi-cultural demographics of those who are diagnosed with Alzheimer’s disease should be closely examined. From a designer’s standpoint, its cultural traits can foster positive behaviors that lead to better quality of life for patients and caregivers. A patient-centered approach in design was explored in order to shape community-based care that empowers (1) individuality in care services, (2) interpersonal connection in caregiver–patient activities, and (3) a communal culture of being valued via humanitarian approaches.

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Norris, Jessica R. "FOOD LANDSCAPES: A CASE STUDY OF A COOKING AND ART- FOCUSED PROGRAM FOR TEENS LIVING IN A FOOD DESERT." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3575.

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This study constructs themes and propositions about the experiences of youth participants in the fall 2013 Food Landscapes program at the Neighborhood Resource Center in Richmond, Virginia. During the program, youth participated in cooking-based volunteerism with adults with disabilities and created short videos about their experiences. In this study, I analyzed pre- and post-program participant interviews, twice-weekly program observations, and facilitator reflections to understand how Food Landscapes affected youths’ conception of community engagement and communication strategies. This case study offers insight into how youth experience after-school programming of this design. Based on my findings, youth develop and rely upon a sense of togetherness in out-of-school programs. Togetherness as a bridge to commitment strengthens participation. Individually, youth need to form personal connections to and/or empathy with the content areas of the program in order to derive meaning, critically reflect, and problem solve. Furthermore, the youth articulated their perceptions of the community and the program by developing, organizing, and voicing their ideas of cooking/food, volunteering, and art making. By sharing research about the experiences of youth in after-school programming, organizations and educators can better construct, facilitate, and sustain youth participation and engagement.

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Jacoby, Jill Beth. "Art, Water, and Circles: In What Ways Do Study Circles Empower Artists to Become Community Leaders around Water Issues." [Yellow Springs, Ohio] : Antioch University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1260285346.

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Thesis (Ph.D.)--Antioch University, 2009.
Title from PDF t.p. (viewed March 25, 2010). Advisor: Jon Wergin, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 238-245).

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Sibelius, Sydney. "El Cómic y Lo Cómico: Cómo Pablo Picasso Denuncia a Francisco Franco con 18 Imágenes." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1132.

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This thesis analyzes the 18 etchings made by Pablo Picasso in his folio titled Sueño y mentira de Franco created in 1937. It examines their role in condemning Francisco Franco during the Spanish Civil War and how Picasso used his art to make a political statement. Additionally, the roles that humor and satire, gender, the comic strip style, and language play in the piece are discussed in regards to the effectiveness of the overall work.

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Agustin, Tasha A. "Are Tattoos Fashion? Applying the Social Change Theory." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1313774007.

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Seutloadi, Kedibone Dominica. "An evaluation of the transformation process in the performing arts councils in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/49746.

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Thesis (MPhil)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: The Performing Arts Councils (PACs) have been the primary recipients of national public funding for the performing arts, accounting for nearly half of the arts and culture budget of the Department of Arts, Culture, Science and Technology (DACST). They had to be restructured in order to free public resources for allocation to other disciplines and areas in need of redress. The four PACs addressed in this study are The Playhouse Company (Durban), Artscape (Cape Town), PACOFS (Bloemfontein), and the Spoornet State Theatre (Pretoria). The purpose of the study was to determine whether or not the PACs had achieved the transformation goals as defined by DACST. The research was approached from a qualitative perspective to ensure that as much nuanced information as possible was collected within a limited timeframe and financial constraints. Where necessary, as in analysis of staff and expenditure, quantitative analyses were undertaken. The study found that the process of converting PACs to playhouses had been inconsistently implemented, although some of the PACs had come a long way in transforming themselves. Funding was obtained from government subsidies, NAC funding for specific projects, sponsorships, and other minor sources of income such as box office sales. Traditional forms of the performing arts, specifically opera and ballet, still accounted for a large portion of the total expenditure. PACs have had considerable difficulty in obtaining provincial and local government support, or adequate business sector support to make them viable as stand-alone entities. None of the PACs has been able to secure sustainable funding on a reliable basis to meet their requirements. DACST regards the implementation of a Community Arts Development (CAD) component and the establishment of the NAC as essential for an equitable arts dispensation in the country. CAD is meant to provide education and empowerment of people from previously disadvantaged communities, access to PAC venues and NAC funding, and awareness and outreach programmes. The CAD component varies substantially from PAC to PAC. The White Paper on Arts, Culture and Heritage recognises that the future of arts and cultural expression lies in the development of new audiences and markets. Audience development and facilitating access to venues has been left to the PACs, with little effect in some cases. The transformation of the staff profile of PACs to reflect the demographics of their provinces has been achieved. As the resultsof the study show each PAC took it upon itself to transform itself in its own way. As a result, transformation by the various PACs was found not always to be in line with the imperatives contained in the White Paper on Arts, Culture and Heritage (DACST, 1996).
AFRIKAANSE OPSOMMING: Die Rade vir Uitvoerende Kunste (RUK) was tot op hede die vernaamste ontvangers van nasionale staatsbefondsing vir die uitvoerende kunste, en het bykans vyftig persent van die Departement van Kuns, Kultuur, Wetenskap en Tegnologie (DKKWT) se begroting vir kuns en kultuur verteenwoordig. Hierdie Rade moes herstruktureer word sodat staatshulpbronne wat vir ander dissiplines en gebiede wat regstelling nodig gehad het, aangewend kon word. In hierdie studie is die vier Rade vir Uitvoerende Kunste "The Playhouse" (Durban), "Artseape" (Kaapstad), RUKOVS (Bloemfontein) en die Spoornet-staatsteater (Pretoria) bestudeer. Die doel van die studie was om te bepaal of die Rade vir Uitvoerende Kunste 'n transformasie, soos gedefinieer deur die DKKWT, ondergaan het. Die navorsing is vanuit 'n kwalitatiewe perspektief benader om te verseker dat so veel moontlik genuanseerde inligting binne 'n beperkte tydsbestek en te midde van finansiele beperkinge ingesamel is. Waar nodig, soos in die analise van personeel en uitgawes, is 'n kwantitatiewe benadering gevolg. Daar is bevind dat daar deurgaans uitvoering gegee is aan die omskepping van die Uitvoerende Kunsterade in skouburgteaters, hoewel sommige Rade reeds 'n ver pad met betrekking tot selftransformasie geloop het. Befondsing was afkomstig van staatsubsidies, NUK-befondsing vir spesifieke projekte, borge en ander minder beduidende bronne, byvoorbeeld inkomste uit kaartjieverkope. Tradisionele vorms van die uitvoerende kunste, veralopera en ballet, het steeds 'n beduidende deel van totale uitgawes uitgemaak, en Rade vir Uitvoerende Kunste het groot probleme ondervind om genoegsame steun van provinsiale regerings, plaaslike owerhede en die besigheidsektor te werf om hulle in staat te stelom as lewensvatbare en onafhanklike entiteite te funksioneer. Nie een van die Rade vir Uitvoerende Kunste kon daarin slaag om befondsing van 'n standhoudende aard te bekom waarop hulle kon reken om aan hul vereistes te voldoen nie. Die DKKWT beskou die implementering van 'n Gemeenskapskunsontwikkelingkomponent (GKO) en die stigting van die NUK as onontbeerlik vir 'n regverdige kunste-bedeling in die land. GKO beoog om voorsiening te maak vir die opvoeding en bemagtiging van mense III die voorheen agtergeblewe gemeenskappe, toegang tot plekke waar GKO-optredes gehou word, NUKbefondsing, asook bewustheids- en uitreikprogramme. Die GKO-komponent wissel aansienlik van RUK tot RUK. Die Witskrif oor Kuns, Kultuur en Erfenis erken dat die toekoms van kuns- en kulturele uitdrukking in die ontwikkeling van nuwe gehore en markte opgesluit lê. Die ontwikkeling van gehore en makliker toegang tot plekke waar optredes aangebied word is in die hande van Kunsterade gelaat; in sommige gevalle met weinig effek. Die transformasie van die Rade vir Uitvoerende Kunste se personeelprofiel ten einde die demografiese werklikheid van elke provinsie te weerspieel was suksesvol. Soos duidelik uit die studie blyk, het elke Raad vir Uitvoerende Kunste onderneem om die transformasie op sy eie manier te implementeer. Die gevolg is dat die transformasie in die verskillende Rade vir Uitvoerende Kunste nie altyd tred hou met die bindende opdragte wat in die Witskrif oor Kuns, Kultuur en Erfenis (DKKWT, 1996) vervat is nie.

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