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Books on the topic 'Community arts practices'

Author: Grafiati
Published: 10 January 2023
Last updated: 28 January 2023

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1

Hardy, Christine. Community arts: An examination of practices and participation in three contemporary examples. Birmingham: University of Birmingham, 1991.

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2

Chonody, Jill M. Community art: Creative approaches to practice. Champaign, Illinois: Common Ground Publishing LLC, 2014.

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3

C, Deller Steven, and Marcouiller David W, eds. Community economics: Linking theory and practice. 2nd ed. Ames, IA: Iowa State Press, 2004.

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4

Rudvin, Mette. Interpreting in the community and workplace: A practical teaching guide. New York: Palgrave Macmillan, 2011.

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5

University-community design partnerships: Innovations in practice. Washington, DC: National Endowment for the Arts with the support of The Richard H. Driehaus Foundation, 2002.

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6

Freeman, Marcia S. Building a writing community: A practical guide. Gainesville, FL: Maupin House, 2003.

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7

1949-, Mitgang Lee D., ed. Building community: A new future for architecture education and practice : a special report. Princeton, N.J: Carnegie Foundation for the Advancement of Teaching, 1996.

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8

Voyageur, Cora Jane, Laura Brearley, and Brian Calliou. Restorying Indigenous leadership: Wise practices in community development. Banff, Alberta, Canada: Banff Centre Press, 2014.

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9

New arenas for community social work practice with urban youth: Use of the arts, humanities, and sports. New York: Columbia University Press, 2000.

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10

New practices, new pedagogies: A reader. Exton, PA: Swets & Zeitlinger, 2004.

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11

Abah, Oga S. Performing life: Case studies in the practice of theatre for development. Zaria, Nigeria: Shekut Books, 1997.

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12

Enid, Zimmerman, ed. Teaching talented art students: Principles and practices. New York, NY: Teachers College Press, 2004.

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13

Murphy, Catherine. See saw: Exploring the balance in rural Australia between Aborigines and Anglo-Europeans using Community Cultural Development (CCD) practice and process. Edited by Sleep Bronwyn Coleman and McInerney Kunyi June Anne. Ceduna, S. Aust: C. Murphy, 1998.

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14

Inc, ebrary, ed. Applied theatre: International case studies and challenges for practice. Bristol, UK: Intellect, 2009.

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15

Post-socialist translation practices: Ideological struggle in children's literature. Amsterdam: John Benjamins, 2012.

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16

Meade, Rosie, and Mae Shaw, eds. Arts, Culture and Community Development. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781447340508.001.0001.

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This edited collection profiles the sites and subjects of arts practices in different geographical contexts, including Hong Kong and mainland China, India and Sri Lanka, Finland, Chile, Brazil, Lebanon, Mexico, the USA, Germany, Canada, the UK, and Ireland. Chapters capture how collective hopes, fears, allegiances, frustrations, and memories, are sung, danced, played, etched on walls, or conveyed through puppets and theatre. Contributors to the volume thus draw attention to some of the diverse ways that groups of people collectively make sense of, re-imagine or seek to change the personal, cultural, social, economic, political, or territorial conditions of their lives, while using the arts as their means and spaces of engagement. Across its chapters, the book explores a number of broad themes and questions. How can we conceptualise the relationship between community development and arts/cultural practice? What diverse forms does this relationship take in contemporary contexts? How do communities of people engage with, utilise, make sense of and through particular artforms and media? How can we understand the aesthetic and associated meanings of such engagements? How are the power dynamics related to authorship, resources, public recognition, and expectations of impact negotiated within community-based arts processes? How do economistic and neoliberal rationalities influence arts processes and programmes in community contexts? Together, the chapters also critically interrogate if, and how, dominant rationalities are being resisted and challenged through arts practices.
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17

Jr, Stephenson Max O., and Scott Tate. Arts and Community Change: Exploring Cultural Development Policies, Practices and Dilemmas. Taylor & Francis Group, 2015.

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18

Arts and Community Change: Exploring Cultural Development Policies, Practices and Dilemmas. Taylor & Francis Group, 2015.

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19

Tate, Scott, and Max O. Stephenson Jr. Arts and Community Change: Exploring Cultural Development Policies, Practices and Dilemmas. Taylor & Francis Group, 2015.

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20

Tate, Scott, and Max O. Stephenson Jr. Arts and Community Change: Exploring Cultural Development Policies, Practices and Dilemmas. Taylor & Francis Group, 2015.

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21

Creating Together: Participatory, Community-Based, and Collaborative Arts Practices and Scholarship Across Canada. Wilfrid Laurier University Press, 2015.

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22

Sinner, Anita, and Diane Conrad. Creating Together: Participatory, Community-Based, and Collaborative Arts Practices and Scholarship Across Canada. Wilfrid Laurier University Press, 2015.

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23

Sinner, Anita, and Diane Conrad. Creating Together: Participatory, Community-Based, and Collaborative Arts Practices and Scholarship Across Canada. Wilfrid Laurier University Press, 2015.

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24

Sheridan, David Harold. An analysis of strategic planning practices at Ontario colleges of applied arts and technology. 1998.

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25

Gouzouasis, Peter, and Danny Bakan. Arts-Based Educational Research in Community Music. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.17.

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This chapter, written creatively as a scripted conversation between a professor and a doctoral student, asks how researchers might study music-making in a plethora of community music settings using arts-based methods. On the surface, arts-based educational research (ABER), art-based research (ABR), creative analytical practices (CAP), and arts inquiry (AI), may seem one and the same, but there are distinctive historical and theoretical nuances between them. We crafted this composition in a reflexive manner with theory and research embedded in the scripted conversation to explore these nuances. We point towards the conclusion that music communities, where participants are actively engaged, are well suited to inquiry through methods that include creative ways of representing and understanding both music and learning. In a conversational way, we explore distinctions, contexts, possibilities, problems, and the power of engaging arts-based research in the study of community music-making.
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26

Menzies, Teresa Virginia. Teacher commitment in colleges of applied arts and technology: Sources, objects, practices and influences. 1995.

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27

Menzies, Teresa Virginia. Teacher commitment in colleges of applied arts and technology: Sources, objects, practices and influences. 1995.

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28

Van Buren, Kathleen, and Brian Shrag. Make Arts for a Better Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.001.0001.

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Make Arts for a Better Life: A Guide for Working with Communities provides a groundbreaking model for arts advocacy. Drawing upon methods and theories from disciplines such as ethnomusicology, anthropology, folklore, community development, and communication studies, the Guide presents an in-depth approach to researching artistic practices within communities and to developing arts-based projects that address locally defined needs. Through clear methodology, case studies from around the world, and sample activities, the Guide helps move readers from arts research to project development to project evaluation. It addresses diverse arts: music, drama, dance, oral verbal arts, and visual arts. Also featured are critical reflections on the concept of a “better life” and ethical issues in arts advocacy. The Guide is aimed at a broad audience including both scholars and public sector workers. Appendices and an accompanying website offer methodology “cheat sheets,” sample research documents, and specific suggestions for educators, researchers, and project leaders.
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29

Shimshon-Santo, Amy, and Genevieve Kaplan. Et Al.: New Voices in Arts Management. Illinois Open Publishing Network, 2022. http://dx.doi.org/10.21900/pww.15.

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Et Al. imagines kaleidoscopic possibilities for the stewardship of culture and land as decolonizing practices. Culture and the arts can enhance society by strengthening our connections to each other and to the earth. This arts management book was born during a racial reckoning and accelerated by a global pandemic. What exactly is the business of no-business-as-usual? The ethical challenge for arts management is far more complex than asking how to get things done; we must also ask who gets to do things, where, and with what resources? Our task is to generate cultures that refuse to annihilate themselves or each other, much less the planet. Et Al. contributes to the conversation about arts and cultural management by providing rare, behind-the-scenes insights on justice-centered arts management praxis — ideas tied to action. The book makes space for people to publicly reflect, write, and share insights about their own ideas and ways of working. Its polyphonic voices speak to pragmatic strategies for arts management across cultures, genres, and spaces. Its stories are told from the perspective of individuals and families, micro businesses, artist collectives, and civic institutions. As a digital publication, the platform lends itself to multi-media knowledge objects; the experiences documented within it include ethnographies, qualitative social research, personal and communal manifestos, dialogues between peers, visual essays, videos, and audio tracks. This open source, multimedia book is structured into six streams which are numbered for their exponential powers: Stream¹ : Center is Everywhere; Stream² : Gathering Community; Stream³ : Honoring Histories; Stream⁴ : Shifting Research; Stream⁵ : Forging Paths; Stream⁶ : Generative Practice. The book discusses imaginative ways of generating cultural equity in praxis, and is an invitation for further imagination, conversation, and connection. Et Al. presents an interactive landscape for readers, thinkers, and creators to engage with multimedia and intergenerational essays by Amy Shimshon-Santo, Genevieve Kaplan, Gerlie Collado, Abraham Ferrer, Julie House, Britt Campbell, Delia Xóchitl Chávez, Sean Cheng, Yvonne Farrow, Allen Kwabena Frimpong, Kayla Jackson, Erika Karina Jiménez Flores, Cobi Krieger, Loreto Lopez, Cynthia Martínez Benavides, Christy McCarthy, Janice Ngan, Cailin Nolte, Michaela Paulette Shirley, Robin Sukhadia, Katrina Sullivan, and Tatiana Vahan.
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30

Schrag, Brian, and Kathleen J. Van Buren. Meet a Community and Its Arts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.003.0002.

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Step 1 guides readers through the discovery and description of a community and its arts. It helps readers think about what a community is; choose a community and start a Community Arts Profile; begin learning about a community and its arts through practical activities; and start exploring a community’s social and conceptual life. It introduces research methods such as participant observation, interviewing, note-taking, audio- or videorecording, and photography. It also addresses legal and ethical considerations for arts advocates. Finally, Step 1 includes examples from author experiences and highlights further resources for readers.
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31

Community and the arts: History, theory, practice : Australian perspectives. Leichhardt, NSW: Pluto Press, 1991.

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32

MacWilliam, Briana, Brian T. Harris, Dana George Trottier, Kristin Long, and Britton Williams. Creative Arts Therapies and the LGBTQ Community: Theory and Practice. Kingsley Publishers, Jessica, 2019.

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33

MacWilliam, Briana, Brian T. Harris, Dana George Trottier, Kristin Long, and Britton Williams. Creative Arts Therapies and the LGBTQ Community: Theory and Practice. Kingsley Publishers, Jessica, 2019.

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34

Congdon, Kristin G. Community Art in Action (Art Education in Practice). Davis Publications, 2004.

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35

Longo, Shawna, and Zachary Gates. Integrating STEM with Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546772.001.0001.

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This book explores how science, technology, engineering, and mathematics (or STEM) initiatives are becoming more common in our educational system while depicting what it means to teach not only the students of today, but the citizens of tomorrow. This resource will provide 15 fully-developed and classroom-vetted instructional plans with assessments that are aligned to articulate learning from kindergarten through grade 12. With these instructional lessons and adaptations for K-12 music and STEM classes, pre-service educators, in-service educators, and administrators can better understand and immediately use tools for planning, assessing, and the practical integrating of STEM with Music. The arts, which includes music, visual art, dance, theater, and digital/media arts, bring creativity and innovation to the forefront in STEM learning. STEM learning can move teachers of the arts in a positive direction, but there are mixed messages about what that means and looks like. Many natural connections can be made between science, technology, engineering, math, and music. Twenty-first century learning skills and career-ready practices are framed so that the creativity and innovation necessary to succeed in STEM content areas and careers can be directly addressed by the educational community. The connection that is made between STEM content areas and music stimulates inquiry, dialogue, and critical thinking.
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36

Deller, Steven C., David W. Marcouiller, and Ron Shaffer. Community Economics: Linking Theory and Practice. 2nd ed. Blackwell Publishing Limited, 2004.

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37

Beeton, Sue. Community Development through Tourism. CSIRO Publishing, 2006. http://dx.doi.org/10.1071/9780643093881.

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Community Development through Tourism examines the development of local communities through the healthy integration of community planning, business planning and tourism planning. It explores the most pertinent tourism and business theories, moving from strategic planning to community empowerment and practice. Research-based case studies are used to illustrate how things work in the real world, and the ways in which various theories can and have been applied. This book will be an important resource for business development managers, tourism operators and community leaders, as well as students and teachers in courses that incorporate aspects of community tourism into their business, tourism, social sciences and arts programs.
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38

Rudvin, Mette, and Elena Tomassini. Interpreting in the Community and Workplace: A Practical Teaching Guide. Palgrave Macmillan, 2011.

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39

Rudvin, Mette, and Elena Tomassini. Interpreting in the Community and Workplace: A Practical Teaching Guide. Palgrave Macmillan, 2011.

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40

Rudvin, Mette, and Elena Tomassini. Interpreting in the Community and Workplace: A Practical Teaching Guide. Palgrave Macmillan, 2011.

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41

Rosenberg, Douglas, ed. The Oxford Handbook of Screendance Studies. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199981601.001.0001.

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The Oxford Handbook of Screendance Studies is the first publication to offer a scholarly overview of the histories, practices, and critical and theoretical foundations of the rapidly changing landscape of screendance. Drawing on their practices, technologies, theories, and philosophies, scholars from the fields of dance, performance, visual art, cinema, and media arts articulate the practice of screendance as an interdisciplinary, hybrid form that has yet to be correctly sited as an academic field worthy of critical investigation. Each essay discusses and reframes current issues, as a means of promoting and enriching dialogue within the wider community of dance and the moving image. Topics addressed include politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; dance and interactive and digital technology; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines, such as kinesthetic explorations. The Oxford Handbook of Screendance Studies features newly commissioned and original scholarship that will be essential reading for all those interested in the intersection of dance and the moving image, including film and videomakers, choreographers and dancers, screendance and videodance artists, academics and writers, producers, composers, as well as the wider public. It will become an invaluable resource for researchers and professionals in the field and is intended as the first classroom text for screendance courses.
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42

Bau Graves, James. Why Public Culture Fails at Diversity. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.18.

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Public culture in the United States fails at diversity. Due to historical circumstance, disparities in the accumulation and use of wealth, long-standing tradition, and a hundred years of governmental policies, the cultural preferences of a small and powerful minority is promoted to the virtual exclusion of all others. ‘Culture’ in the United States has been defined and represented to all Americans to exclusively mean the red-carpet ‘classical’ arts. The cultures of Blacks, Latinos, Asians—and most Whites—are not included or welcomed. So pervasive is this system of elitism, that it calls into question the legitimacy of public art practice in the United States. Is the American public cultural sector, taken as a whole—with community music a distinct component—an intrinsically racist enterprise? This chapter examines our exclusionary history and its trajectory in community arts, and offers the concept and practice of cultural democracy as an alternative.
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43

Music, Song, Dance, Theater: Broadway Meets Social Justice Youth Community Practice. Oxford University Press, Incorporated, 2017.

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44

Political practices of post-Yugoslav art: R01. Beograd: Prelom kolektiv, 2010.

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45

Restorying Indigenous Leadership: Wise Practices in Community Development. Banff Centre Pr, 2015.

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46

Bala, Sruti. The gestures of participatory art. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.001.0001.

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The gestures of participatory art offers a critical investigation of key debates in relation to participatory art, spanning the domains of applied and community theatre, immersive performance as well as the visual arts. Rather than seeking a genre-based definition, it asks how artists, audiences and art practices approach the subject of participation beyond the predetermined options allocated to them. In doing so, it inquires into the ways that artworks participate in civic life. Participation is the utopian sweet dream that has turned into a nightmare in contemporary neoliberal societies. Yet can the participatory ideal be discarded or merely replaced with another term, just because it has become disemboweled into a tool of pacification? The gestures of participatory art insists that the concept of participation must be re-imagined and shifted onto other registers. It proposes the concept of the gesture as a rewarding way of theorizing participatory art. The gesture is simultaneously an expression of an inner attitude as well as a social habitude; it is situated in between image, speech and action. The study reads the gestural as a way to link discussions on participatory art to broader issues of citizenship and collective action. Moving from reflections on institutional critique and impact to concrete analyses of moments of unsolicited, delicate participation or refusal, the book examines a range of practices from India, Sudan, Guatemala and El Salvador, the Lebanon, the Netherlands and Germany. It engages with the critiques of participation and pleads for a critical reclaiming of participatory practices.
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47

Christine, Wilkinson, Cairns Rebecca, and Eldridge Lara, eds. Art & people: A practical guide to setting up and running arts projects in the community. 2nd ed. Slough: Slough Borough Council, 2003.

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48

Newton, Travis. Orchestra Management Handbook. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197550670.001.0001.

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Written for those who are contemplating jumping into the orchestra management realm, this Orchestra Management Handbook will provide a significant head-start for those entering this complicated, exciting, and challenging line of work. A multitude of challenges have faced orchestra managers since the beginning of the art form, and they will continue to face those who make the orchestra enterprise their life’s work, alongside new challenges that will arise in the 21st century. Whether short-term, long-term, internal, external, or existential, an intentional approach to building, maintaining, and sustaining relationships must be at the core of the orchestra manager’s daily routine. Each chapter of this handbook provides practical strategies, tools, and a variety of resources to those who work in the orchestra management field, with an emphasis on relationship building throughout. Illustrative case studies highlighting innovative practices being undertaken at orchestras across the country are regularly featured, providing the reader an opportunity to learn from the experiences of others. Additionally, each chapter concludes with a series of discussion questions to ponder, teasing out some of the chapter’s key concepts. Few arts organizations have more potential for building community than orchestras—with a typically large permanent complement of artists, a high volume of performances, and a need for large audiences, building community should be central to the internal and external operations of the modern orchestra.
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49

Dialogue in Artistic Practice: Case Studies from Animating Democracy (Art & Civic Engagement). Arts, 2005.

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50

What We Made: Conversations on Art and Social Cooperation. Duke University Press Books, 2013.

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