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McEwan, Celina. "Investing in play expectations, dependencies and power in Australian practices of community cultural development /." Connect to full text, 2008. http://hdl.handle.net/2123/3680.
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Thesis (Ph. D.)--University of Sydney, 2008.Title from title screen (viewed Apr. 9, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Includes bibliographical references. Also available in print form.
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Croose, Jonathan Freeman. "The practices of carnival : community culture and place." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15833.
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This thesis analyses ethnographic data gathered during participant observation within two vernacular town carnivals in East Devon and Dorset during 2012 and within the professional Cartwheelin’ and Battle for the Winds street performances which were staged as part of the Maritime Mix programme of the 2012 Cultural Olympiad at Weymouth. The thesis presents qualitative perspectives with regard to the cultural performance of carnival in the fieldwork area, in order to analyse the ‘performativity’ of carnival in these contexts: how it enacts and embodies a range of instrumentalities with regard to notions of community, culture and place. The thesis serves to unpack the ‘performance efficacy’ of carnival within the wider political and cultural landscape of the UK in the early 21st century, revealing the increasing influence of institutional policy on its aesthetics and cultural performance. By way of contrast, the thesis also asserts the value of vernacular carnivalesque street performance as a contestation of hegemonic notions of ‘art’, ‘place’ and ‘culture’. The ethnographies of both vernacular and professional carnival practice presented in the thesis show how the instrumentalities of carnival are employed as cultural performances and as symbolic constructions of place, power and policy. These ethnographies reveal the contradictory ‘efficacy’ of carnival: how it functions both as a symbolic expression of a progressive, rhizomatic sense of place and also as a normative performance of vertical symbolic power and place-identity. The thesis offers a cultural geography of carnival as praxis in the south west UK, locating it within specific geographical, historical and socio-cultural contexts which have developed since the late 19th century. The thesis also offers a productive contribution to the emerging dialogue between cultural geography and performance studies through its analysis of the performativities of participants’ affective, carnivalesque experience: an analysis which articulates how people ritualise and perform the multiple boundaries between individual and community identities through carnival. Further, the thesis considers the means by which people present and enact particular symbolic representations of place and identity through their carnival performances, both in professional and non-professional contexts. In its conclusion and recommendations, the thesis seeks to frame these ethnographies within a critique of carnival practice which is considered through the contested geographies of the ‘creative economy’. It seeks to demonstrate how culture-led processes of policy enactment are increasingly critical influences within carnival and arts development in rural and small-town contexts and within place-based strategies of public engagement. Further, the thesis seeks to consider the effects that this hegemony has on ‘vernacular’ practices of carnival. The thesis adds a further voice to those cultural geographers who warn about the diminishing public space which is now available to people for spontaneous, ‘non-productive’ carnival festivity in the context of globalised late capitalism and ‘applied’ culture. Finally, the thesis offers a proposed remedy: a re-imagination of progressive structures of public engagement through culture; structures which support ‘vernacular’ practice alongside the instrumentalities of arts-development and public policies of place, in tune with a growing alternative discourse which seeks to ‘rethink the cultural economy.
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Ferry, Sabrina Bestor. "Community Art Methods and Practices| A Model for a More Human-Centered and Culturally Sensitive Historic Preservation Practice." Thesis, University of Oregon, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751665.
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A growing number of Community Artists are doing work with potential relevance to the field of historic preservation. They have seen a need for action in low-income communities and communities of color that are losing their historic, physical, and social character through dilapidation, redevelopment, and displacement. These artists have found nontraditional ways to bolster communities while preserving neighborhood buildings, histories, and social structures. This thesis analyzes three community art case studies as a means to evaluate changes proposed to our current preservation system by leaders in historic preservation concerned with issues of equity and social justice. This study finds that these projects offer many useful examples for preservationists interested in better serving underrepresented communities through the field of historic preservation.
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Ferry, Sabrina. "Community Art Methods and Practices: A Model for a More Human-Centered and Culturally Sensitive Historic Preservation Practice." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23926.
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A growing number of Community Artists are doing work with potential relevance to the field of historic preservation. They have seen a need for action in low-income communities and communities of color that are losing their historic, physical, and social character through dilapidation, redevelopment, and displacement. These artists have found nontraditional ways to bolster communities while preserving neighborhood buildings, histories, and social structures. This thesis analyzes three community art case studies as a means to evaluate changes proposed to our current preservation system by leaders in historic preservation concerned with issues of equity and social justice. This study finds that these projects offer many useful examples for preservationists interested in better serving underrepresented communities through the field of historic preservation.
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Crawford, James E. "Writing Center Practices in Tennessee Community Colleges." Digital Commons @ East Tennessee State University, 1998. https://dc.etsu.edu/etd/2899.
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The objective of this study was to develop a profile of writing centers in twelve community colleges governed by the Tennessee Board of Regents. This profile included how they were established, how they are funded and staffed, what services are provided and to whom, how training is provided for staff, and how technology is incorporated. More important than the profile itself, however, was an analysis of successful and unsuccessful practices, especially those related to governance, structure, and training of staff, as revealed through the perceptions and experiences of writing center directors. Because electronic technology has transformed the craft of writing, and its teaching, the analysis extended to the ways in which this technology should be integrated into writing center programs. To construct a profile of current writing center structure and practice, a survey instrument was created and administered by telephone during the spring of 1998. The survey was followed by on-site interviews with four writing center directors which focused on strategies for improving campus support for services, recruiting and training tutors, and providing services electronically. Tennessee community college writing centers vary in their primary clientele with almost half providing comprehensive services to all writers on campus and half serving primarily developmental writers. Perhaps because of this developmental orientation there continues to be a stigma attached to writing centers. Community colleges in Tennessee could enhance the stature of their writing centers by conferring faculty and full-time status on the director, offering more comprehensive services, especially tutorial services, to writers of all levels of ability and from all departments. While a substantial body of literature on writing center philosophy and practice has developed during the last twenty years, much of it failed to address the limitations inherent in community colleges pertaining to admissions policies, non-residential and part-time students, and length of time required to complete a degree. This study identified assumptions, practices, and goals which are universal as well as those which are unique among community college writing centers within the Tennessee Board of Regents system and attempted to anticipate future needs as these centers continue to evolve into the new millennium.
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Bounhiss, Mohammed. "Sustainable development, cultural heritage and community empowerment : current trends and practices in Moroccan culture." Thesis, City University London, 2010. http://openaccess.city.ac.uk/8694/.
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The thesis combines cultural heritage management and museology as 'western constructs' in their Moroccan context, which has deeply shaped by French colonialism. and still remains captive of that legacy. The research explores all aspect of the concept of sustainable development and investigates the accession and the mainstreaming of culture and cultural heritage into the World Bank development portfolio with particular emphasis on the Fa Medina Rehabilitation Programme as it embodies the World Bank's attempts to consolidate cultural heritage as part of sustainable development. Furthermore, the research study also attempts to historically and aesthetically 'ground' the museum concept in non-western environment by focusing on the pertinent questions of representation, collection care, professionalism and commodification. And critically looks at the suitability of the ecomuseum model as an alternative to orthodox museology.
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McEwen, Celina. "Investing in Play: Expectations, Dependencies and Power in Australian Practices of Community Cultural Development." University of Sydney. Department of Performance Studies, 2008. http://hdl.handle.net/2123/3680.
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Doctor of Philosophy (PhD)This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.
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Manzano, Raul. "Language, Community, and Translations| An Analysis of Current Multilingual Exhibition Practices among Art Museums in New York City." Thesis, Union Institute and University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10060087.
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This dissertation provides an analysis of current multilingual practices among art museums in New York City. This study is located within the current theoretical analysis of 1) museums as sites of cultural production and 2) the politics of language, interpretative material, and technology. This study demonstrates how new roles for museums embracing multilingual exhibitions and technology may signal new ways of learning and inclusion.
The first part is a theoretical-based approach. The second part consists of a mixed-method research design using qualitative and quantitative methods to create three different surveys: of museum staff, of the general public, and finally my observations of museum facilities and human subjects.
Multilingual exhibitions are complex and require changes at all levels in a museum's organizational structure. Access to museum resources can provide more specific data about language usage. The survey responses from 175 adults provides statistics on multilingual settings and its complexity. The survey responses from 5 museums reveals the difficulty, and benefits, of dealing with this topic. Visual observations at 36 museums indicate that visitors pay attention to interpretative material, while production cost, space, and qualified linguistic staff are concerns for museums. Technology is a breakthrough in multilingual offerings, for it can help democratize a museum's culture to build stronger cultural community connections.
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Currie, Sean E. "Sacred Selves: An Ethnographic Study of Narratives and Community Practices at a Spiritual Center." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002799.
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Hollis, Alan D. "Implementing Best Practices of Museum Exhibition Planning: Case Studies from the Denver, Colorado Art Museum Community." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1279314066.
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Sollish, David S. "Musical Theatre in the Mountains: An Examination of West Virginia Public Theatre's History, Mission, Practices, and Community Impact." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276802020.
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Crutchfield, Nicole Boudreaux. "Multi-Disciplinary Review and Comparison of Project Management for Social Engagement Practices." Master's thesis, North Dakota State University, 2017. http://hdl.handle.net/10365/25989.
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This paper explores the practices of natural resources management, community development, and public arts by comparing the integration of social engagement as part of project management. All three of these practices originate from goals of social change and continue to advance in their disciplinary fields. Community-Based Natural Resources Management (CBNRM) is framed in the natural resources management discipline. Community Development (CD) practice is framed in public participation and city planning disciplines. Creative Placemaking (CP) practice is framed in the public art discipline. These disciplines point to the intent to transform existing culture with the goal of becoming more democratic, socially just, transparent, and inclusive. Through the analysis of project management traits, key components are identified for successful project implementation with the goal of resulting in healthy and vibrant communities.
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Higgins, Dustin. "Dying Traditions: The History of Community Grave Diggings in Unicoi County." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2024.
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The subject of this thesis deals with instances where members of the community dig the grave for the grieving family. This thesis is limited to Unicoi County. Looking at past and present occurrences of this practice, this project will explain how it came to be and why it is still being exercised.
The primary sources for this project include newspaper articles from the Erwin Record, interviews with members of the community. Secondary sources were used to frame the overall context and draw comparisons with the rest of Appalachia.
The digging of the grave by the community began as a necessity in the rural areas of Unicoi County. Due to the growing economic prosperity of these areas, and the eventual easy access to roads, the tradition began to waver and was preserved and practiced only by the small, isolated community churches.
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Finlay, Susan Sparling. "Faculty development practices at Florida's public community colleges: Perceptions of academic administrators, faculty development practitioners, and full-time faculty members." Scholar Commons, 2005. http://scholarcommons.usf.edu/etd/2881.
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Faculty development is a means by which institutions can assist faculty in addressing the challenges they face each day in the classroom. Certainly the importance of faculty development is never more evident than within community colleges where access is provided to all students through an open-door admission policy which often produces a more diverse student body creating numerous institutional challenges. Overtime, on many campuses, faculty development practices have come to play a prominent role in attending to these challenges.
This study: (a) examined faculty development practices offered in the last three years by Floridas 22 public community colleges and determined if the total number of different practices offered as well as the different types of practices were related to institutional size as measured by the number of full-time faculty (b) assessed and compared the relative perceived value of these practices as viewed by full-time faculty, faculty development practitioners, and academic administrators in these institutions, and (c) assessed and compared the relative perceived value of faculty development practices as viewed by full-time faculty within six different discipline areas. An original web-based questionnaire was used to gather data from the chief academic officers, faculty development practitioners, and full-time faculty at Floridas 22 public community colleges.
Chief Academic Officers of 18 of the institutions reported that all 42 faculty development practices included in the survey were offered by at least one institution in the last three years. Results also revealed clearly that on all campuses, many full-time faculty were unaware that these practices were offered. No significant relationship was found between the total number of practices offered and the number of full-time faculty employed by institution. A relationship was noted between institutional size and the cluster of faculty development practices labeled general teaching enhancement practices. The mean perceived value by each respondent group on 42 faculty development practices reported three of six clusters revealed significant differences between fulltime faculty and chief academic officers. The perceived value ratings of faculty across six different discipline groups were observed for each of the six clusters of faculty development practices.
Implications for future research were identified.
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Mason, Hannah. "A Return to the Body: Individual Wholeness and Community Harmony." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/175.
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The return to body awareness, or embodiment, is necessary for individual and communal harmony. A reflection on the use of dance in tribal societies suggests their importance in creating community and identifies how they were prohibited during colonization and thereafter. Subsequently, an investigation into current American culture in the 21st century finds a disembodied culture, as defined by the lack of awareness to the body as a living entity. Embodiment practices are suggested for a return to individual harmony and communal dancing as the solution for community harmony. Lastly, a personal exploration into the making and creating of danced rituals suggests the power of dance to heal, transform, and unite humanity.
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Carter, Kevin. "Expanding community art practice : an analysis of new forms of productive site within community art practice." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyz5/expanding-community-art-practice-an-analysis-of-new-forms-of-productive-site-within-community-art-practice.
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This practice-based research is a reflection upon a community art practice mediated via the social use of digital technologies such as social media, Free Libre Open Source Software (FLOSS) and open data. In combining existing community art methods and methodologies, with those taken from the social use of digital technologies, an attempt has been made to expand community art to include these social sites productively within its practice. Over the past 40 years, community-focused art practice has produced a significant and mature body of critique derived from a range of issues such as community, identity, co-option by external agendas as well as the artists role and identity; all of which have sought to question the currency of its practice. Is it possible then that methods and methodologies, suggested by the social use of digital technologies, may in part ameliorate some of these critiques and in the process expand the productive sites offered to community art? As part of this practice based research a community-focused artwork, Landscape- Portrait, was created. This work featured an explicit engagement with these new sites of social interaction. As an exemplar of an expanded community art practice, Landscape-Portrait combined methods and methodologies borrowed from the social use of digital technologies alongside those of critical community art practice, incorporating a network of virtual and non-virtual sites in both its production and dissemination. In accordance with my research methodology the artworks production and its outcomes were recorded and reflected on. The material generated informed my research outcomes. As a result, this research advocates caution in the championing of the sites made use of by Landscape-Portrait. It argues instead that these sites need to be considered against a set of critical questions regarding their operational culture, terminology, privacy, accessibility, ownership, agency and autonomy; all of which problematise their easy inclusion as productive sites within an expanded community art practice. In response this research proposes an understanding of site as derived from a complex network of virtual and non-virtual constituents. From this understanding a set of speculations, qualifications and methods have been produced that attempt to map the means by which an expanded community artwork, one that employs particular methods and methodologies taken from the social use of digital technology and critical community art practice, might be used to interrogate the constitutional structure of a site, as part of its consideration as a productive site within an expanded community focused art work.
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Schmelzer, Michael Allen. "Making a difference, transforming lives mediating practices in a culture of empowerment at Santa Cruz School /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118236067.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xiv, 361 p.; also includes graphics Includes bibliographical references (p. 315-345). Available online via OhioLINK's ETD Center
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Serra, Permanyer Marta. "Espais latents : pràctiques artístiques contemporànies vers un urbanisme crític = Latent spaces : contemporary practices in art towards a critical urbanism." Doctoral thesis, Universitat Politècnica de Catalunya, 2014. http://hdl.handle.net/10803/260971.
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Aquesta tesi explora les formes d’intervenció a l’espai urbà que relacionen l’art amb la transformació de les ciutats contemporànies. L’examen de diverses formes de creació emergents permet descobrir, a través del camp artístic, eines de creació i metodologies que contribueixen de forma crítica a percebre la transformació social del paisatge urbà.
El principal propòsit consisteix en identificar un urbanisme alternatiu a partir de la mirada i intervenció de la pràctica artística actual compromesa amb la ciutat, reconeixent les pràctiques espacials creatives com a vies transdisciplinàries i inclusives a l’hora de dissenyar la ciutat, i a la vegada, com a veus crítiques que poden recordar diferents episodis de la història de l’urbanisme caracteritzats pel desig d’humanitzar l’espai urbà.
La recerca parteix de l’exploració i entrevista de cinc casos d’estudi europeus, cinc artistes contemporanis que prenen com a objecte de treball la transformació urbana de la ciutat global. Són Jakob Kolding, Marjetica Potrč, Lara Almarcegui, Loraine Leeson i Sitesize. La seva aproximació urbana examina les tensions socioespacials derivades de dinàmiques de transformació de la ciutat contemporània, una transformació provocada o bé per la caducitat del funcionalisme del Moviment Modern en models utòpics de creixement il•limitat, o bé pels processos de renovació urbana més actuals que han contribuït a la ciutat dispersa i a la crisi en l’ús de l’espai públic. Els símptomes detectats per cada artista coincideixen en identificar, principalment, la pèrdua de vida a l’espai urbà així com l’exclusió dels propis ciutadans en el procés de definició del seu entorn.
Per aquest motiu els cinc artistes assenyalen i intervenen en espais d’oportunitat, espais latents: zones suburbanes amb baixa copresència, espais comunitaris buits, descampats, espais públics infrautilitzats o barris en procés de gentrificació, manifestant en cada cas conflictes d’exclusió i segregació socioespacial, turistització, pèrdua de referències identitàries pròpies, estandardització d’usos, esborrament de la memòria del lloc i, especialment, manca de socialització a l’espai públic. Per tant, si els espais latents són espais urbans buits i sense ús, la hipòtesi d’aquesta tesi recau en què l’art pot transformar la condició de buit en espai públic, atribuint al gest artístic la capacitat generadora i projectora d’espai relacional.
La tesi s’estructura en una primera part on s’introdueix la pràctica artística i la transformació urbana des de la mirada dels artistes, des dels referents compartits pels casos d’estudi corresponents als estudis sociològics, i finalment des de la història de l’arquitectura més pròxima a la mirada que planteja cada artista.
El cos central de la tesi desplega els cinc casos d’estudi, on a propòsit de cada artista es pretén suggerir un nou tipus d’urbanisme latent: l’urbanisme socialitzant proposat per J. Kolding, l’urbanisme d’arrelament proposat per M. Potrč, el no-urbanisme proposat per L. Almarcegui, l’urbanisme comunitari per part de L. Leeson i l’urbanisme d’autoaprenentatge proposat per Sitesize. Prenent la seva obra com a pretext, serà possible repensar i qüestionar les formes actuals de projectar amb l’objectiu de reconèixer i identificar noves eines i processos de treball molt més empíriques.
El resultat d’aquesta combinació de mirades presents serà útil per proposar una forma de projectar transdisciplinària i entesa com a procés obert i compartit, intensificant el coneixement crític cap a la història de l’arquitectura i potenciant els espais de socialització i d’autonomia pel ciutadà. Per tant, els espais latents seran espais físics en transició transformats pel gest poètic d’un artista, però també altres formes de projectar l’urbanisme i contrarrelats a recuperar d’algunes fractures de la història de la ciutatThe thesis "Latent spaces: Contemporary practices in art towards a critical urbanism" explores the forms of intervention in urban space that link art to the transformation of contemporary cities. By examining varying emergent forms of creation, it reveals, through the field of art, creative tools and methodologies that contribute critically to perception of the social transformation of urban landscapes. The main objective is to identify an alternative urbanism based on the perspective and intervention of current, city-committed artistic practice, acknowledging creative spatial practices as transdisciplinary and inclusive avenues for designing public spaces. In turn, these critical voices from the field of art can connect to various episodes from the history of the vein of urban planning that has sought to humanize urban space. The research begins by exploring five European case studies, with interviews of five emerging artists whose work focuses on the urban transformation of the global city: Jakob Kolding, Marjetica Potrč, Lara Almarcegui, Loraine Leeson and Sitesize. Their urban approach examines the socio-spatial tensions arising from the dynamics of transformation in the contemporary city, a transformation caused be it by the expiry of the functionalism of the Modern Movement in utopian models of unlimited growth or through more current processes of urban renewal, which have contributed to the disperse city and the crisis in the use of public space. Each of the artists concurs in identifying as symptoms the loss of life in urban space and the exclusion of the city’s inhabitants in the process of defining their environment. For this reason, the five artists identify and act in spaces of opportunity, latent spaces—suburban areas with low co-presence, empty community spaces, vacant lots, underused public spaces or neighborhoods undergoing gentrification—showcasing in each conflicts of exclusion and socio-spatial segregation, touristification, loss of own identity references, standardization of uses, loss of memory of the place and, above all, lack of socialization in public space. If public spaces are thus empty, unused spaces, the hypothesis of this thesis is art’s potential to alter the emptiness in public space, ascribing the ability to produce and project relational space to the act of creating art. This thesis begins with a first part introducing artistic practice and urban transformation from the perspective of the artists, from their shared references with urban sociology studios and finally from the history of the architecture that most closely matches each artist’s specific vision. The main body of the thesis elucidates the five case studies and seeks, with regard to each artist, to proffer a new type of latent urbanism: the socializing urbanism proposed by J. Kolding, the rooted urbanism proposed by M. Potrč, the anti-urbanism proposed by L. Almarcegui, the community urban planning proposed by L. Leeson and the self-taught urbanism proposed by Sitesize. Taking the work of these artists as a pretext, it becomes possible to rethink and question current design methods in order to discern and identify new tools and much more empirical processes. The result of this combination of urban perspectives will prove useful in proposing a cross-disciplinary form of planning conceived as an open and shared process, augmenting critical knowledge towards the history of architecture and promoting spaces for socialization and autonomy for city inhabitants. Latent spaces will thus be physical spaces in transition, transformed by the poetic gesture of an artist as well as by other forms of planning and counter-narratives to recover from some fractures in the history of the city
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Raw, Anni Eleanor. "A model and theory of community-based arts and health practice." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/7774/.
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This thesis is an ethnographic study of the dynamic world of a hidden arts and health practice. Throughout the UK, and internationally, artists are engaged to work collaboratively with community groups, in creative initiatives seeking positive outcomes for participants’ health and wellbeing. Their practice is informal in character, with no unified identity or agreed parameters; instead responsive individuality in methods, manifest in the idiosyncratic creative voices of practitioners, is much celebrated. However elusive, improvised or plan-resistant the mechanisms behind the work, such projects continue to be resourced, constituting a paradoxically unregulated phenomenon in a customarily risk-averse health and care context. Investigating the inner workings of expert participatory arts practitioners’ methods, the thesis asks whether shared elements can be identified, forming a coherent model that characterises and unifies this work. Noting the value of exploring two entirely discreet settings, with field sites across Northern England as well as across Mexico City, I use international comparison to investigate whether the practice furthermore displays commonalities that transcend national contextual differences. Despite significant diversity in settings and art forms, and in practitioners’ backgrounds, the study finds recurrent commonalities in the methodologies engaged. The thesis articulates these findings as a coherent practice model, comprising elements recognisable amongst all practitioners in the study. Observing shared characteristics in practitioners’ intuitive strategies for catalysing change, through the use of generic creative mechanisms including subversive playfulness, risk, and suspension of disbelief, I theorise the practice model using an anthropological lens of secular ritual. Artists’ processes suggest they open up ‘liminal’ spaces in which participants can rehearse fresh ways of being themselves, and engage in transformative reflection on their everyday realities. This discovery of a breadth of practitioners, whose intuitive practice transcends boundaries in artform, context and national identity, is discussed here as an emergent, ‘cosmopolitan’ community of practice.
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Smith, Katherine K. "A Phenomenological Study of Aesthetic Experience Within an Arts Council's Events and Programs: Finding Joy, Expression, Connection, and Public Good in the Arts." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1479423181791095.
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Heck, Elizabeth L. "Social learning and the facilitation of co-creative media practice in community media, arts and cultural organisations." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/102465/1/Elizabeth_Heck_Thesis.pdf.
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This thesis examines the significance of social learning in community media and arts contexts. It takes as its focus the use of storytelling by organisations in the community cultural development and community media sectors as a way of enacting social change from within communities. These organisations exist as hybrid learning environments, and they must maintain certain standards of quality in their processes and outcomes to be of ongoing value in their communities and to funders. Such community organisations create networked social learning systems, and the co-creative media practice explored in this thesis is learnt ‘in situ’ in communities of practice.
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
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Gard, Jennifer Hansen. "Partake Columbus." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437330175.
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Van, Der Velde Roel Martin. "French-South African arms trade relations as a community of practice, 1955-1979." Thesis, University of Portsmouth, 2017. https://researchportal.port.ac.uk/portal/en/theses/frenchsouth-african-arms-trade-relations-as-a-community-of-practice-19551979(70b86f25-d726-4c67-ac6b-f8e9ddf74cf6).html.
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This study reconstructs the French-South African arms trade in French military helicopters between 1955 and 1979, which flourished in defiance of international reprobation of Apartheid. New evidence reveals the shaping influence to policy of inter-state social relations at operational levels, leading to extended trajectories beyond the accepted historical milestones of the 1963 and 1977 UN arms embargoes. By retracing an emerging commercial process of arms trade spanning two decades, the crystallization of elements of the French and South African defence communities is identified,constituting de facto trade policy despite their diplomatic divergence. French promotional brokering in the mid-1950s laid the unseen foundation for the professionalisation of military procurement between unlikely partners. French interdepartmental oversight increasingly problematized propositions for weapons for use in state repression against populations in Southern Africa. Under pressure to gain military autonomy the South African Defence Force procured French aircraft, ironically leading to licensed local aircraft production under French tutelage, and adoption of French technical expertise and defence organisation. The French unilateral arms embargo against Israel in 1967caused the French-South African relationship to mature. Following greater international and operational pressures that led to counter-revolutionary alliances in Southern Africa, alternative supply arrangements were created between French and South African defence communities, notably through trade of helicopters-in-parts. Rather than being overtaken by diplomatic withdrawal, by the mid-1970s the inter-community enterprise of arms trade was galvanized by operational-level actors, continued away from visible executive control. New primary evidence is presented to argue that the French presidential adoption of arms embargoes in 1970, 1975 and 1977 represented not a sea-change in arms trade policy, but the maturing of a parallel and covert military-industrial channel within the French ministerial constellation, directed at South Africa and the African continent. In sum, this thesis offers new historical evidence on an extended business life cycle in French-South African trade and its correlation to, and detachment from, national policies. Moreover, the importance of practice tracing of middle-level interactions in French arms trade and defence policy connects with new debates on French involvement in Cold War regional defence arrangements in and outside its traditional African sphere of influence.
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Pethybridge, Ruth. "Unresolved differences : choreographing community in cross-generational dance practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13357/.
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This practice-led research enquires into how ideologies of community as commonality have informed the dominant rhetoric in the Community Dance sector since the 1970s, and formed the conditions of possibility for Cross-generational Dance, a reciprocal relationship between discourse and practice that has arguably been overlooked in the historiography of Community Dance. Framed by Michel Foucault’s (1972) concept of the episteme – an umbrella mode of knowing that permeates historical taxonomies – Community Dance history is linked here with experimental choreographic processes during the 1960s and 1970s, and Relational Art of the 1990s. Such relationships suggest a more critical, politically-orientated genealogy. Cross-generational Dance is discussed through a reflexive approach to the writing which reveals how philosophies of community are divided into those associated with the idea of commonality – either through shared characteristics or common goals – and those that advocate a break with these imperatives, here examined through the philosophies of Adriana Cavarero, and Jean-Luc Nancy. Given its perceived agenda to bring people of distinct ages together into a harmonious totality, Cross-generational Dance provides a particular opportunity to discuss community, examined here through case-studies of key choreographers at the time of writing – Rosemary Lee, and Cecilia Macfarlane. The discussion of age is made explicit through an analysis of models of difference, and introduces how an ethical encounter with others can avoid the totalising impulse of community in subsuming these differences. The methodology of ‘relational choreography’ underpins the phenomenological emphasis on process and relationships in choreography over more conventional conceptions of product and form in dance and supports the hypothesis that community can be experienced as ‘being in relation through a phenomenology of uniqueness’. This conception does not rely on polarising the positions of the individual and the community, or self and other, young and old, but rather generates an experience of uniqueness, wherein differences remain unresolved, shared amongst ‘others plural’ (Nancy, 2000). This thesis therefore reconsiders what community means in the context of dance practice.
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Ban, Ruth. "Community of practice as community of learners : how foreign language teachers understand professional and language identities." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001637.
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Burton, David. "Playwriting methodologies in community-engaged theatre practice in regional Australia." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213228/1/David_Burton_Thesis.pdf.
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This thesis examines playwriting methodologies commonly used in community-engaged theatre practice in regional Australia. Since 2003, the Queensland Music Festival has committed to commissioning original community-engaged works in regional Queensland communities. These works, typically featuring a cast of many hundreds and audiences of many thousands, are unique examples of community-engaged theatre work. Since 2013, Burton has served as playwright on these works and has undertaken practice-based and practice-led research across four case studies, along with complementary interviews. The research positioned the playwright in a dense and complex network of stakeholders in community-engaged practice.
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Nieves, Christina Impoco. "Expressive Arts Intervention for the Adult Cancer Survivor in the Community Support Group Setting." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1573897771394791.
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Smith, Ruth Marie. "Encountering Practice: An Exploration of Deleuze and Collaboration in the Somali Women and Children's Alliance Summer Arts Camp." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1329568275.
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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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Manternach, Brad Andrew. "Content within the community: a look at content driven community-based art practices and the results of an after school art program." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3344.
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The purpose of this research was to study the ways in which a content driven after-school art program focused on community-based art projects inspires high school students to create work that are personal and purposeful. This study involved members of the Hempstead High School Art Club. I collected data in various ways including focus groups video recording, journal reflections, and observations with Art club members who meet monthly to discuss the project and biweekly to work on the project. My plan was to gather information on the effectiveness of a content driven after school art club in the teaching and learning of visual art. Through my research I hoped to discover the benefits and drawbacks of an after school art program as compared to a regular art classroom setting and the implementation of content driven art projects. Finally, I hoped to study and analyze the effects such a program would have on a student's understanding of the purpose of creating community-based art.
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Mamali, Elissavet. "An ethnography of distinction : dynamics of collective taste-making." Thesis, University of Bath, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667733.
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The purpose of this thesis is to explore how taste is constructed at the micro-social level of a community of practice and to investigate the dynamics that underlie the process of taste-making. An ethnographic research was conducted in the context of an arts cooperative focusing on how members maintain status boundaries from dissimilar others (inter-group dynamics) and how they negotiate intra-group taste heterogeneity (internal dynamics). The findings indicate that the community symbolically demarcates itself from outgroups in an “us versus them” fashion by continuously juxtaposing its practices to those of competitive actors through “sayings” as well as “doings”. They also begin to mark out the appropriation processes through which members employ distaste to resignify and internalise meaning to their practices (a) by exhibiting tastes of outsiders if they can successfully negotiate their intent (recontextualising exo-cultural elements), (b) by negating tastes that are prevalent in the field in order to criticise subtly outgroup practices (appropriating practice through conspicuous absence) and (c) by negotiating the ‘tastefulness’ of objects that are not valued for their aesthetics by outsiders in order to provoke (resignifying prevailing aesthetics). Finally, the study conceptualises taste-making within the community as an ongoing dialogical process amongst members with heterogeneous views about “tastefulness”. Depending on their status, members employ strategies that help them either to actualise tastes that they favour in the context of the community or to deal with the exhibition of tastes that they are not in accordance with. The thesis makes a theoretical contribution to three areas; First, to literature on taste formation by accounting for the holistic outlook of community-based taste-making practices; Second, to our understanding of negative symbolic consumption by exhibiting the appropriation processes through which distaste endows meaning to practices; Third, to the stream of works on marketplace cultures by proposing a new conceptualisation of intra-group heterogeneity.
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Looby, Winnie. "Praxis Through Participatory action Research: Exploring Inclusive Practices With A Neighborhood School Community." ScholarWorks @ UVM, 2017. https://scholarworks.uvm.edu/graddis/735.
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Public school educators strive to address a variety of student needs. Factors such as poverty, trauma, Limited English Proficiency, and the presence or risk of disabilities contribute to students' learning profiles and require educators to rely on the best practices of an interwoven network of specialists so that they can meet these needs. Utilizing a Participatory Action Research (PAR) approach, aimed at fostering school improvement and collaborative research, this study paints an in-depth, holistic cultural portrait of a diverse PreK-5 elementary school in the mountains of northern New England. The lead researcher collaborated with the leadership of the school with the goal of creating a more inclusive learning environment. The school studied is unique in that the arts are used as a vehicle for instruction and inclusion of students from diverse backgrounds, including students with disabilities. The study weaves together feminism, ethnography, arts integration, and disability studies to explore the potential multiple benefits of arts-based instruction and a social skills curriculum for meeting the needs of diverse learners. Through interviews, observations, document review, and reflective journaling, the study collaboratively explores the beliefs and practices of three interrelated micro-cultures within the school: school leaders, classroom teachers, and parents. This study -- conducted over the course of one school year -- provides a snapshot of how one unique school community worked to create an inclusive learning environment through arts integration and a social skills curriculum. Additionally, it documents the benefits and challenges of a PAR approach to supporting and sustaining school-wide change.
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Mondou, Evelyne. "Analysis of the vocabulary used by a community of practice over time: a case study of scientific knowledge transfer." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104536.
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Knowledge management (KM) offers a variety of tools to share and preserve knowledge. In particular, communities of practice (CoPs) have emerged as a KM approach that allows people from different disciplines to better share what they know and to build a common base of knowledge. CoPs provide a common exchange space that can serve to catalyze multidisciplinarity. In this way, participants coming from diverse knowledge backgrounds can engage in a rich exchange of content. The literature reveals that common vocabulary is a key characteristic of a CoP. The goal of this study is to understand the role of common vocabulary as an indicator of the evolution of a specific CoP - a scientific community of practice.This case study data consisted of the corpus of content produced by the InnovationWell members between 2003 and 2009. InnovationWell is a CoP that aims to promote and develop a new discipline – KM for the pharmaceutical industry and to incorporate new KM practices in the development of new drugs. Content analysis on more than a thousand documents identified words and expressions that represented the specific CoP vocabulary as well as evidence of its evolution. The Gongla and Rizzuto (2001) model was used to study the evolution of this CoP. An etymological and lexicographic analysis was then done to support the semi-automated extraction approach that was used to analyze the vocabulary and to create a progressive semantic taxonomy of the CoP. Results from both of these analyses helped determine how the development of the specialized CoP vocabulary could be used to follow its evolution.The overall key finding was that evolution is a multifaceted concept that cannot be expressed solely through the variation in the common vocabulary of this CoP. The multidisciplinary social context of this particular CoP was somewhat thwarted by the confidential nature of its content. This created an orchestra style of managing where the community manager played a central role in the success of the community learning and knowledge sharing processes. Identifying the common vocabulary of InnovationWell provided information on the evolution of the disciplines implicated in the knowledge developed. Identifying the common vocabulary of this CoP also provided a good indicator of the members' professional profiles. The analysis of this multidisciplinary CoP showed that instead of a specialized vocabulary, vocabularies from the different source disciplines merged to create a composite vocabulary for the new KM discipline within InnovationWell. The semantic analysis showed that very few single words were part of the community common vocabulary. Instead the common vocabulary was mainly composed of expressions (two or more words) created by the combination of words often borrowed from natural language. The modeling and analysis of the evolution of this CoP demonstrated that vocabulary can be used to categorize demographic change and community knowledge development. However, vocabulary failed as an evolutionary marker for management processes and for the evaluation of technological evolution. The integration of specialized vocabulary analysis with the evaluation of CoP evolution provides a valuable framework to understand the nature of a scientific CoP common vocabulary and the socio-dynamic development of a community scientific knowledge. This study contributes to a knowledge management conceptual framework by providing a better understanding of the role of common vocabulary within CoPs, and to the SKT process model, by drawing a better profile of how a scientific CoP adapts as a discipline evolves.La gestion des connaissances offre une variété d'outils pour partager et préserver les connaissances. En particulier, les communautés de pratique (CdPs) sont apparues comme une approche en gestion des connaissances qui permet aux gens de différentes disciplines de mieux partager ce qu'ils savent et de construire une base commune de connaissances. Les CdPs offrent ainsi un espace commun d'échange qui peut servir à catalyser la multidisciplinarité. La littérature cite souvent le vocabulaire commun un élément distinctif des CdPs. L'objectif de cette recherche est de développer une meilleure compréhension du rôle du vocabulaire commun en tant que marqueur de l'évolution d'une CdP spécifique soit une CdP scientifique. Cette étude de cas porte sur l'analyse des données recueillies dans un corpus de textes produits entre 2003 et 2009 par les membres d'InnovationWell. Plus d'un millier de documents furent analysés pour extraire les éléments qui sont propres à l'évolution de la communauté et pour identifier les mots et expressions qui constituent le vocabulaire spécifique ce celle-ci.Pour réaliser cette étude, le modèle sur l'évolution des CdPs de Gongla et Rizzuto (2001) fut utilisé. Ensuite une analyse étymologique et lexicographique supportée par une approche d'extraction semi-automatique du vocabulaire fut employée afin d'analyser le vocabulaire et produire une taxonomie sémantique évolutive de cette CdP. Les résultats des deux analyses furent combinés afin de déterminer la nature du vocabulaire commun d'une CdP ainsi sa dynamique évolutive. La principale conclusion de cette étude est que l'évolution d'une CdP est un concept à multiples facettes qui ne peut être exprimé que par la variation dans le vocabulaire commun. Pour InnovationWell, le contexte social qui est à la fois pharmaceutique et multidisciplinaire est teinté par la nature confidentielle des savoirs. Cela crée un style de gestion où le gestionnaire de la communauté joue, tel un chef d'orchestre, un rôle central dans la réussite du processus d'apprentissage et de partage des connaissances. L'identification du vocabulaire commun d'InnovationWell a permis d'observer l'évolution des disciplines impliquées dans le développement des savoirs de cette CdP. Il a également permis de dresser un indicateur caractérisant le profil professionnel des membres. L'étude d'InnovationWell montre qu'au lieu de voir naître un nouveau vocabulaire spécialisé, la fusion des vocabulaires de différentes disciplines contribue à la création d'un vocabulaire spécifique du domaine de gestion des connaissances en milieu pharmaceutique. L'analyse sémantique montre que bien peu de mots composent le vocabulaire commun de cette CdP en fait le vocabulaire commun est principalement composé d'expressions (deux mots ou plus) crées par la combinaison de mots souvent empruntés du langage courant. La modélisation ainsi que l'analyse de l'évolution ont permis de démontrer que le vocabulaire peut être utilisé pour caractériser les éléments évolutifs démographiques et les éléments marquant l'évolution du développement des connaissances d'une CdP. Par contre, l'analyse du vocabulaire échoue lorsque vient le temps d'évaluer l'évolution en fonction des caractéristiques liées au processus de gestion et technologiques de cette CdP. L'intégration de l'analyse du vocabulaire spécialisé et de l'évaluation de l'évolution d'une CdP fournit un contexte intéressant pour comprendre le processus sociodynamique de l'évolution des savoirs au sein d'une CdP. Cette recherche contribue au cadre conceptuel de la gestion des connaissances en donnant une meilleure compréhension du rôle du vocabulaire commun au sein d'une CdP, et à celui du transfert des connaissances scientifiques en donnant une meilleure compréhension du processus d'adaptation d'une CdP scientifique impliquée dans le développement d'une nouvelle discipline.
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Obermueller, Joseph A. "Applied Theatre: History, Practice, and Place in American Higher Education." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3151.
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The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.
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Weinbaum, Michelle A. "Building social capital in a traumatized community with small group art practice." Thesis, Kansas State University, 2012. http://hdl.handle.net/2097/13778.
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Master of ScienceDepartment of Landscape Architecture/Regional and Community Planning
Stephanie Rolley
Small group creative practice has the potential to set the conditions necessary to develop or strengthen community networks, as a form of social capital, in a disempowered, traumatized community. Traumatized communities require the process of building social capital to begin at an earlier point than in other communities and by addressing the background of trauma first. Case studies of three programs present the opportunity to inform the design of future development work with disempowered, traumatized communities like those of many women in countries engaged in armed conflict. The case studies examined are a government founded shelter for abused women; a localized project to teach agricultural skills; and a project to teach women artistic skills as a therapeutic exercise to build trust levels necessary to increase networks. Social capital provided perspective for examining the bonds between individuals and groups and how they affect individuals’ access to resources. Framed by a literature review, the case studies synthesized literature and first hand experiences and knowledge. A question protocol was used to query the case studies in order to identify best practices. The literature review demonstrated that the most reliable indicators of social capital are trust and association and suggests accepted indicators for each. By querying the case studies, it was determined that best practices for a project designed to build social capital in disempowered, traumatized communities include stipulations on the size of groups, how time is scheduled for informal interaction, identifying indicators of trust, and how conditions for group outcomes were met. This study found that, with an intentional design focus on group outcomes, as well as with attention to other best practices, creative practice is a viable method to increase the levels of trust necessary to set conditions for further development of social capital in the identified communities.
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Horne, Maxine. "Care to dance : listening, watching, dancing and reflecting the practice of a community arts and health dance artist working with older people." Thesis, Manchester Metropolitan University, 2016. http://e-space.mmu.ac.uk/615895/.
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The focus of this thesis is community arts and health provision for older people. It presents an ethnography of two community dance for older people groups in North West England, UK. It explores the experience of being a participant in the groups, of facilitating the groups and, additionally, of researching with the groups. I acted as both the researcher and the dance artist facilitating the sessions. Much of the existing arts and health literature focuses on the outcome of an intervention. This thesis instead turns its attention to the processes of community arts, seeking to understand more about the mechanisms that might lead to the studied health and well-being outcomes. The data were collected over a period of 13 months and includes session plans, videos of sessions, recorded conversations with dancers (participants) and reflections of the dance artist/researcher in both text and movement. The findings chapters reflect the modality of collection: Listening to the dancers talk about the sessions, Watching video recordings of the sessions, Dancing a response to the sessions and the process of researching and Reflecting through writing on the process of being a researcher. Using thematic analysis, both the dancers’ and the dance artist’s experiences were interpreted through a framework highlighting the physical, psychological and dimensions of participation. The dance artist’s experience was additionally organised with respect to the session planning. The use of the creative movement as a thinking process further revealed that there is much in community dance that does not translate to text; bodily held knowledge and experiences do not transpose to language easily. My thesis contributes to the arts and health and gerontology literatures by revealing the care flowing between the participants and the artist in the sessions and the work required of all members of the group to facilitate that care. It also contributes methodologically through the richness uncovered by the multi-sensory methods employed.
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Kleinrichert, Denise. "Responsibility and practice in notions of corporate social responsibility." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001893.
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O'Keeffe, Anne. "The art of presence : contemplation, communing and creativity /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.
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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness.
Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy.
While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.
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Slotnick, Ruth C. "University and Community College Administrators’ Perceptions of the Transfer Process for Underrepresented Students: Analysis of Policy and Practice." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1774.
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This study describes and explains purposefully selected university and community college administrators' perceptions of the Florida statewide articulation agreement and the resulting institutional practices as they pertain to underrepresented transfer students. The theoretical framework that undergirds this dissertation is three-fold: social constructivism, philosophical hermeneutics, and interpretive policy analysis (Yanow, 2000). In particular, the local level knowledge consisting of six university and six community college administrators (also referred to as policy implementers), was assessed through face-to-face interviews, document analysis, and field notes. The researcher reflective journal (Janesick, 2004) is asserted as a crucial link to analyzing the three frames as way to record the history of the project and integrate the ever-present voice of the researcher while lending credibility to the research findings. All three cases were examined for themes and subthemes using cross-case analysis guided by the study's research questions. Three types of policy implementers were apparent: policy experts, technocrats, and generalists. Three categories also emerged: policy proximity, policy fluency, and perceptions of underrepresented students. An administrator's policy proximity was found to be reasonably congruent with his or her policy fluency. This held true across all implementer types. Perceptions of underrepresented students, however, varied greatly; some administrators saw no differences, while others perceived major differences for underrepresented transfer students. A major finding of this study-that all administrators perceive no differences in the state articulation agreement for low-income, first generation in college, and racial and ethnic minority groups-ran counter to a recent study by Dowd, Chase; Bordoloi Pazich, and Bensimon (2009) which found seven state transfer policies to be mostly colorblind.
Future studies on the transfer process incorporating more community college and university administrators both in Florida and in other states could continue to explore how different policy actors interpret and understand state and institutional policy; especially for the growing populations of underrepresented minority groups. The researcher reflective journal may be a useful tool for policy analysts to record more intensive micro-rich views of how policy knowledge is generated, perceived, and perpetuated (or not) from the inside.
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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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Zhang, Alice Jin. "Excavation Sites: Art-ifacts of the Millennial Girl Web Development and Blogging Community of the 2000's to the Early 2010's." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1238.
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When people go online and leave their mark in bytes, how do their traces get preserved, shared, or lost?
In the early 2000’s through about 2012, communities of millennial girl web developers and bloggers flourished on the English-speaking Internet. They would write about their intimate lives, code their website designs from scratch, create portfolios of graphics, and forge friendships with fellow bloggers that lasted through years. Most of these blogs are now gone; only patches remain as screenshots on the Internet Archive Wayback Machine.
For my senior project, I explored how techniques used in glitch art, normally used for destroying image files for purely aesthetic effects, could also be used to embed texts that could be read by humans inside digital photos. I excavated photos and self-portraits of individual bloggers whose old content has since been erased from their original domains as of 2018. Then, I overrode pieces of each image file with the respective bloggers’ journal entries extracted from https://web.archive.org. The result is a picture irreversibly corroded by the loss of its original data, akin to the state of their bloggers' archived websites. It still functions like any image file in that the picture can be copied, shared, and viewed on another computer. However, unlike a typical image file, it also hides a patchwork of legible English text; one can “dig” into the image’s encoding and uncover nuggets of letters from a past Internet presence--specifically, that of a millennial girl's thoughts on identity, life, and the joys and struggles of coding and managing her own website.
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Dokter, Ditty. "Cultural variables affecting client/therapist consonance : the perception of efficacy in arts therapies group treatment." Thesis, University of Hertfordshire, 2008. http://hdl.handle.net/2299/1843.
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This thesis addresses the hypothesis “ Intragroup cultural differences between client and therapist will adversely affect client – therapist consonance in their perception of arts therapies group treatment” The literature review of intercultural psychotherapy, arts therapies and congruence research is contextualised in a discussion of the arts therapies in the UK, in particular group therapy in psychiatry. The discussion of the evolution of a multi modal research design incorporates an ethnographic perspective. The researcher shows how the setting and two pilot studies as well as the Evidence Based Practice initiative influenced the design. The main concepts in the research question are defined and the sample analysed within its local context. Helping and hindering factors in arts therapies group sessions are identified through cluster analysis of questionnaires and focus groups. The next stage of the analysis examines which client, therapist and treatment variables are shown to affect dissonance. Five case studies show the interaction of these variables for individual clients. The concluding chapter discusses the findings and critiques the methodology, as well as providing recommendations for further research. The hypothesis of the research is found invalid; cultural background variables alone do not create client-therapist dissonance. The findings show that client, therapist and treatment variables interact to create dissonance. Client diagnosis, stage of treatment and cultural background interact with their experience of the arts therapies medium. In an arts therapy group context the structuring of the group and the interpretation of the arts expression as symbol or index, will interact with client and therapist cultural background variables. The intragroup variations are migration history, nationality, religious orientation and first language spoken. Cultural difference with the therapist affecting dissonance was evident for those clients who were third generation English / British and who had grown up and were still resident in an non-urban area (small town or village in a predominantly agricultural region) with little cultural diversity. Intergroup difference affected attrition for one client, influenced more by peer than therapist dissonance. Treatment interruptions, the theoretical orientation of the therapists and peer dissonance interact with the client-therapist dissonance. Recommendations for practice are formulated from these findings. These concern adjusting practice to allow for a greater emphasis on expression and play, differing client perceptions about symbolism and the establishing of an early therapeutic alliance.
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McLeish, Amelia. "Artist-run initiatives and community: A practice-led examination of how artist-based communities are formed and understood in contemporary Australian art." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/234043/1/Amelia_McLeish_Thesis.pdf.
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This practice-led project examines how Artist-Run Initiatives (ARIs) are situated within the context of localised visual arts ecologies. Interviews, data regarding arts funding, and studio experiments are combined to arrive at the projects findings: that ARIs offer the arts sector a community that invigorates and develops its own artistic practice, while also making meaningful connections between practices that become integral to the visual arts by facilitating emerging and experimental art. The project affirms that the collection, display and preservation of ephemera is an essential task that documents an aspect of the arts which is often overlooked.
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Fulton, Kara Ann. "Community Identity and Social Practice during the Terminal Classic Period at Actuncan, Belize." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5686.
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This research examines the relationship between the ways in which urban families engaged local landscapes and the development of shared identities at the prehispanic Maya city of Actuncan, Belize. Such shared identities would have created deep historical ties to specific urbanized spaces, which enabled and constrained political expansion during the Terminal Classic period (ca. A.D. 800–900), a time when the city experienced rapid population growth as surrounding centers declined. This research contributes to the understanding of urban processes of growth and decay in this region, and how they are linked to the behaviors of social factions in settlements.
For communities, group identity can provide a sense of connection to place that integrates people at various social levels, provide an individual with social memories and meanings that can be applied to understanding and interpreting material life, and foster a common sense of self and awareness. Daily activities and their engagement with the material world entangle social meanings, values, and relationships. Further, spaces in which people reside and perform these tasks often affect the meanings and values associated with the activities themselves. The combination of shared practices and the spaces in which they occur is ultimately what helps to create and maintain group identity.
To investigate household relationships, this research considers the nature and location of activity patterns in and around three commoner houses to infer shared practices and the shared identities that those activities both enabled and constrained. Importantly, this research investigates not only the architectural areas that each house comprises, but also the open areas surrounding them. The goal of this research is to determine similarities and differences in the use of space throughout the sample area. Were open spaces used in similar ways to residential groups? Did Terminal Classic residents of the Northern Settlement conduct similar activities in all of the residential groups? Alternatively, were these groups locations for different types of practices?
To explore activity patterns, multiple methods were employed, including subsurface testing, soil chemical residue analysis, and macro– and microartifact analysis, to produce overlapping datasets of the sample area. Systematic testing using postholes was used to understand open spaces between architecture in addition to the architectural space itself. Through posthole sampling, macroartifacts, microartifacts, and soil samples were obtained for further examination. The aim of artifact analysis was to examine artifact diversity and density within the residential groups as well as between them to aid in the identification of activity loci. Additionally, soil chemical residue analysis was employed to investigate activities. Similarities and differences between artifact and chemical patterning can provide insight into shared practices. By creating multiple lines of evidence from independent datasets, inferences about activities can be more strongly supported. The artifact and chemical data were examined spatially using geostatistics as well as with quantitative assessment. The results suggest that Terminal Classic residents of Actuncan were extensively utilizing not only the formal patio spaces of residential groups but also the interstitial spaces in between. Additionally, it is argued that one group appears to have been a locus for affiliative ritual practices in connection with ancestor veneration.
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Brod, Undine. "“C” is for Ceramics – It Also Stands for: Collecting, Community, Content, Confusion, and Clarity." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1309449467.
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Bellas, Noel. "Successes and challenges in implementing community art programs for youth in low-income communities : implications for social work practice." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100738.
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The purpose of this study was to examine the successes and challenges in implementing community art programs for youth in low-income communities. The National Arts and Youth Demonstration Project (NAYDP) was initiated in September 2001 in five program sites across Canada. This article reports on the qualitative findings of NAYDP staff implementation journals that were utilized in the first term of the project. Findings suggest that community partnerships in program recruitment, youth management and engagement and survey administration were all key aspects in the ability of staff to deliver the program. Positive Youth Development (PYD) provides a guiding framework and implications for social work practice, education and future research are explored.
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Van, Wyk Josly. "A practice-led exploration of the aesthetics of household waste in selected South African visual artworks." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60437.
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In this practice-led exploration, I investigate the aesthetic potential of household waste. With household waste as the object of investigation, I explore the cultural signification of waste in terms of the role it plays in art practice. I look into the found object, bricoleur culture and the sculptural process of assemblage. By considering how assemblage allows for the inclusion of waste materials, the lowly status of household waste leads my art practice to a do-it-yourself approach. This approach of incorporating waste materials into artworks shifts the focus from the physical state to the conceptual meaning of waste. The shift that occurs when the waste object is displaced into art is central to this research study, owing to the capacity of these objects to connote meaning. I refer to this capacity as the social agency of waste materials. My investigation pertains to how art practice may alter or enhance the meaning of household waste. The physical cycle of waste, the constant change in use value that is promoted by consumer society and the process of conceptual adaptation instil a nomadic quality in household waste. I view the nomadic quality of waste as a means to activate viewer participation.
I investigate, in particular case studies, how the interrelationship of installation art, site-specificity and community-based art may contribute to an experiential mode of viewing. I apply the lens of phenomenology and contemporary environmental aesthetics to interpret how viewers engage with art installations. My investigation of confrontational art installations has informed the approach of my own creative research. To convey the nomadic quality of waste, I have developed a series of quasi-functional sculptural artworks that act as mechanical modes of movement to signify an industrial influence of consumerism. Through community art practice as an interrelated field of research, the community members of Rietondale, particularly the school learners from workshops I presented, influenced my approach to my own art practice as I had sought to influence theirs. This mini-dissertation serves as a reflection on the coinciding thought process, material journey and collaborative initiative of a practice-led exploration of the aesthetics of household waste.Dissertation (MA)--University of Pretoria, 2016.
Visual Arts
MA
Unrestricted
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Challis, S. "Maximising impact : connecting creativity, participation and wellbeing in the qualitative evaluation of creative community projects." Thesis, Coventry University, 2014. http://curve.coventry.ac.uk/open/items/53a3eb2f-401e-40bc-b530-115428d1b7d6/1.
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The evaluation of creative participatory community projects remains a controversial issue in politics, policy and the arts, its focus sharpened by the reality or rhetoric of austerity. Despite the recent plethora of policy documents and reviews there is little consensus about how projects should be evaluated or what constitutes good evidence about the impact on individual and collective wellbeing of ‘being creative’. This research set out to develop and trial feasible and effective evaluations for small to medium sized projects in the West Midlands of the UK based on field research into how impact is produced. Through mainly qualitative research in diverse contexts it was able to identify a range of conditions in projects reflecting the interrelationship of creativity and participation in which positive impact could be maximised. The research sought to theorise the impact of these conditions using elements of Actor Network Theory and Freire’s concept of praxis, concluding that impact is likely to be incremental, partial and non-linear. Central to this theorisation was the synthesis of evidence about the impact of creativity and embodied making on thinking, affect and a sense of agency, with ideas about how people change, producing a new evidence-based theory of change. In a practice-led approach, new creative methods were trialled in which data produced by participants had aesthetic as well as communicative value and the evaluation process itself contributed to positive impact. While it was possible to evaluate aspects of this impact through episodic interventions, field trials showed that it was more effective to develop a systemic evaluation strategy. Such a strategy needed to be participatory and integrated into project planning, in order to respond to the stochastic systems creativity inevitably provokes. This proved to offer two advantages: the potential to engage many stakeholders, not just as respondents but also as agents actively defining and measuring evaluation outcomes; and the potential for reflection about impact as process rather than outcome. These findings were then implemented in a number of projects, including trials of the Arts Council UK’s developmental Children and Young People’s Quality Principles. The method has been identified as ‘improving the conversation’ amongst partners, stakeholders and artists who can re-position themselves as active agents of evaluation rather than mere respondents, using the tropes, practices and materials of their own professional practices.
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Steadman, Samuel E. "Classroom Community: Questions of Apathy and Autonomy in a High School Jewelry Class." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2883.
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Student motivation is investigated in this study as a means of abrogating apathy within a public high school Jewelry course. The study is an attempt to answer a personal question of whether students could be internally motivated to a level of excitement that they would take ownership for their personal learning and the learning of their classmates. The study also addresses four main points that cause apathy, or are caused by apathy, they are: zero sum competition, compassion and support for classmates,ownership of the physical facilities, and the development of a conscientious public. Through a desire to test data on autonomy, high school students in a Jewelry 2 course were given freedom to choose what projects they made, what materials and processes they used, and what grade they received at the end of the semester. The study was a classroom action research project. Narrative analysis was used as a reflective tool to organize the data into thematic events that tracked the strengths and weaknesses of the study. Key teaching strategies were introduced in this study, including the following: personal goal setting by students to formulate an individualized curriculum; self-grading; and process diaries that the students wrote in daily to track their progress on their goals, and for use as a tool of accountability. The teaching strategies were designed to increase students' intrinsic motivation, creativity, sense of ownership for their personal learning and the learning of their fellow students, to develop a caring environment, and to develop ownership of the physical facilities of the school.