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Готові списки джерел за темами / Community arts practices

Добірка наукової літератури з теми "Community arts practices"

Автор: Grafiati

Опубліковано: 10 січня 2023

Оновлено: 28 січня 2023

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Статті в журналах з теми "Community arts practices":

1

Chapple, Karen, and Shannon Jackson. "Commentary: Arts, Neighborhoods, and Social Practices: Towards an Integrated Epistemology of Community Arts." Journal of Planning Education and Research 29, no. 4 (April 2, 2010): 478–90. http://dx.doi.org/10.1177/0739456x10363802.

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2

Ellis, Simon, and Amaara Raheem. "Making choreography, making community." Choreographic Practices 13, no. 2 (December 1, 2022): 139–43. http://dx.doi.org/10.1386/chor_00047_2.

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Amaara and Simon are choreographers who co-edit Choreographic Practices (along with Dani Abulhawa and Lee Miller). In this editorial they peer into the relationship between making community and practices of choreography and how it might help us rethink the nature of authorship and authority. They talk about their best moves and also call on the work and practices of Sophie Strand, Miranda Tuffnell and D. H. Lawrence to propose that being an artist might be so much more than the first-person pronoun in ‘here’s something I made’.

3

Ngo, Bic, Cynthia Lewis, and Betsy Maloney Leaf. "Fostering Sociopolitical Consciousness With Minoritized Youth: Insights From Community-Based Arts Programs." Review of Research in Education 41, no. 1 (March 2017): 358–80. http://dx.doi.org/10.3102/0091732x17690122.

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In this chapter, we review the literature on community-based arts programs serving minoritized youth to identify the conditions and practices for fostering sociopolitical consciousness. Community-based arts programs have the capacity to promote teaching and learning practices in ways that engage youth in the use of academic skills to pursue inquiry, cultural critique, and social action. In this review, we pay particular attention to literary arts, theatre arts, and digital media arts to identify three dimensions of sociopolitical consciousness: identification, mobilization, and cosmopolitanism. By advancing the principle of sociopolitical consciousness within the theory and practice of critical and cultural relevant pedagogies, our review provides ways toward mitigating social and educational disparities.

4

Thomas, Elizabeth. "Student Engagement and Learning in a Community-Based Arts Classroom." Teachers College Record: The Voice of Scholarship in Education 109, no. 3 (March 2007): 770–96. http://dx.doi.org/10.1177/016146810710900307.

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Background/Context Young people are often limited in the range of roles and the dialogue routinely scripted for them, and then enacted with them, in schools and other learning settings. Community-based arts classrooms may offer young people access to a valuable alternative resource for learning and development, yet these programs have rarely been examined in empirical research. Greater understanding is needed of the community-based activities and learning experiences afforded adolescents situated in a range of economic, social, and cultural contexts. Focus of study This article examines a community-based arts classroom that represents practices and relationships not often found in schools to understand more about the possibilities of learning and identity for disenfranchised students. Setting The community-based arts classroom examined in this article was a printmaking workshop located in a working-class neighborhood of a large Midwestern city of the United States. The workshop was facilitated by a mainstream arts institution as part of its community-based education program. Working artists served as instructors. Research design Qualitative methods were used to privilege students’ and teachers’ perspectives and to describe complex, dynamic teaching and learning practices. Data sources included field notes based on participant observation, interview transcripts, and transcripts of audiotaped recordings of workshop dialogue. I used interpretive and discourse analysis procedures to develop appropriate units of analysis and categories of learning and engagement practices. Findings Participation in the workshop provided at least three sets of resources for students. First, it promoted routine ways of speaking with instructors and with one another about being an artist and doing creative work. Workshop participation also facilitated entry into a second pattern of dialogue and activity related directly to the process of printmaking itself. These practices allowed students to demonstrate growing confidence and competence in the classroom. A third set of resources was provided in the form of rituals that promoted ownership and membership in a community of artists. Conclusions The workshop practices described in this study provide conceptual tools and strategies for educators interested in developing student competence and membership in a classroom setting. The practices in this alternative educational context illustrate how a group of young people, about whom there are few positive expectations, and their teachers engage and learn in ways that are thoughtful, creative, and supportive of one another. These practices are critically important as they suggest strategies for (re)engaging students in a variety of contexts including school classrooms as well as community-based settings.

5

John Lucas, Michael. "The organizing practices of a community festival." Journal of Organizational Ethnography 3, no. 2 (August 12, 2014): 275–90. http://dx.doi.org/10.1108/joe-01-2013-0001.

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Purpose – The purpose of this paper is to present a part of a research study, undertaken over three years, in which the author observed the organization of an annual, community-based, arts and crafts festival in rural central Sweden. By examining the participation of a specific village community group in the organization of the festival, this paper sets out to explore links between the practices of organizing and the culture of a community group engaged in them. Design/methodology/approach – The research study was conducted over three annual cycles of the festival, and its methods reflected the author's position as both a tourist visitor to the festival and a volunteer participant. This paper presents a “thick-description” of the work of a single community volunteer group in the annual organization their village's festival contribution, based on observational and informal interview data from the author's position as a member of that group, and some of the photographic data gathered. Findings – The account presented in this paper offers an examination of the annual routines of a small village community group in organizing their contribution to the broader multi-site festival event observed in the research study. The introduction of anthropological concepts linked to ritual practices extends the understanding of organizing in this setting. Originality/value – A contribution to the development of an understanding of organizing in recurring, group-organized event settings through a detailed consideration of a micro-level ethnographic study data.

6

Rosenwanger, Mariam, Eva Lee, and Susanne Ravn. "Mixed Martial Arts og det totale engagement." Forum for Idræt 31 (December 1, 2015): 49–61. http://dx.doi.org/10.7146/ffi.v31i0.109041.

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Mixed Martial Arts is a relatively new staging of the ultimate battle between two practitioners fighting in a cage. With it’s brutality it challenges the practitioner’s physical limits and mental barriers. In this article we go behind – or maybe rather before – the fight and describe the training practices of American MMA practitioners. Accordingly, the aim of this article is to describe the community of practices which MMA practitioners are part of – ‘backstage’ – when preparing for their fight(s).

7

O’Connell, Jennifer, Lyndon Ormond-Parker, Suzanne Spunner, and Robyn Sloggett. "Waringarri Aboriginal Arts: Rethinking practices in conservation documentation through assessing the needs of a community arts centre." AICCM Bulletin 34, no. 1 (December 2013): 75–84. http://dx.doi.org/10.1179/bac.2013.34.1.009.

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8

O’Connell, Jennifer, Lyndon Ormond-Parker, Suzanne Spunner, and Robyn Sloggett. "Waringarri Aboriginal Arts: Rethinking practices in conservation documentation through assessing the needs of a community arts centre." AICCM Bulletin 34, no. 1 (December 2014): 75–84. http://dx.doi.org/10.1179/bac.2014.34.1.009.

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9

Djuric, Dubravka. "The feminist avant-garde and feminaissance in american poetry and the visual arts." Bulletin de l'Institut etnographique 69, no. 2 (2021): 275–87. http://dx.doi.org/10.2298/gei2102275d.

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In this article, I will discuss the appearance and meaning of the terms feminist avant/garde and feminaissance. I will point to the differences in the mediums of these two fields of cultural production (verbal art and visual art). I am interested in the way these terms help us to construe histories but also impact the contemporary production of radical feminist practices. The notion of the feminist avant-garde was introduced by the American critic Elizabeth A. Frost in 2003 in order to point to the feminist avant-garde poetry tradition. In 2016, the curator Gabrielle Schor introduced the same term, using it for the international exhibition of performance artists from the 1970s. In both fields, the term avant-garde had been used to refer to male artistic and poetry practices. By applying it to radical women?s poetry and performance practices, these practices became visible, valued and recognizable. Feminaissance was introduced in the US in 2007 and referred to the several exhibitions dedicated to female art. The term expressed the optimistic re-actualization of female art, but at the same time, it provoked polemics regarding the contemporary construction of feminist art history. In the field of experimental poetry, feminaissance was used with the same meaning in 2007, at a conference dedicated to feminist experimentation. Within the visual arts, the term feminaissance foregrounded the problematics of the historization of female art, while in experimental poetry this discussion took place around the feminist positions of essentialism and anti-essentialism.

10

Preston, Carol. "Transgressive Eco-Arts Pedagogy: A response to Kulundu-Bolus, McGarry and Lotz-Sisitka (SAJEE, Volume 30)." Southern African Journal of Environmental Education 38, no. 1 (October 31, 2022): 21–35. http://dx.doi.org/10.4314/sajee.v38i1.03.

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Kulundu-Bolus, McGarry and Lotz-Sisitka (2020) have offered transgressive learning as a new approach to environmental education. As a response to their work, this paper describes and discusses aspects of a four-year action research project in which a group of children, adolescents and adults from the rural community of Wakkerstroom-eSizameleni participated in a series of multimodal arts-based interventions in which increased environmental awareness and improved environmental practices were key goals. Five vignettes from these interventions are used to argue that Transgressive Eco-Arts Pedagogy (TEAP) can facilitate community engagement, greater environmental awareness and small steps towards the improved environmental practices that Kulundu-Bolus et al. have called for.Keywords: Environmental education, arts-based learning, multimodality, sustainability, transgressive learning, pedagogy of love

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Дисертації з теми "Community arts practices":

1

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.

2

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.

3

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.

4

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.

5

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.

6

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.

7

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.

8

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.

9

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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10

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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Книги з теми "Community arts practices":

1

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

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2

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

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3

Shaffer, Ron. Community economics: Linking theory and practice. 2nd ed. Ames, IA: Iowa State Press, 2004.

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4

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

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5

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

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6

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

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7

Boyer, Ernest L. Building community: A new future for architecture education and practice : a special report. Princeton, N.J: Carnegie Foundation for the Advancement of Teaching, 1996.

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8

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

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9

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

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10

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

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Частини книг з теми "Community arts practices":

1

Kuppers, Petra. "Community Arts and Practices." In Disability Culture and Community Performance, 70–87. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230316584_4.

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2

Wilson, Emily. "Community Music Practices in Culturally Diverse Classrooms: Promoting Engagement, Inclusion, and Lifelong Learning." In Visions of Sustainability for Arts Education, 175–81. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-6174-7_17.

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3

Lin, Ching-Chiu. "Economic, Social, and Personal Aspects of Educating for Creativity: A Study of a Community-Based Youth Media Arts Program." In Youth Practices in Digital Arts and New Media, 19–39. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137475176_2.

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4

Van der Vaart, Gwenda. "Insights and Inspiration from Explorative Research into the Impacts of a Community Arts Project." In Co-Creativity and Engaged Scholarship, 205–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_7.

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AbstractIn today’s society, the resilience of communities is in the spotlight. How can communities shape and respond to the challenges they face in order to achieve a better future? For researchers focusing on this question, researching artistic practices can provide valuable insights and inspiration. From a resilience perspective that seeks to incorporate people’s everyday lifeworld and local knowledge, community arts in particular hold much potential, being an art form that actively engages people in the creative process. Evidencing the impact of community arts projects has become more important over the years. However, as this chapter discusses, there are several tensions and concerns around evaluating the impact of the arts. The chapter takes as its empirical focus one such project in particular: the multi-year theatre-trilogy Grutte Pier, which took place in the Dutch village Kimswerd between 2014 and 2018. In this village, the site-specific theatre company PeerGrouP worked together with the inhabitants to create a trilogy around the village’s historical figure Grutte Pier. The chapter reflects on an explorative research project into the impact of this community arts project on the village. Hereby, it contributes to the understanding of how meaningful change can be achieved in communities, preparing them for a more sustainable future. The reflections on the explorative research support the need to adopt a critical perspective with regard to assessing the value of artistic practices. The experiences in Kimswerd show that community arts projects can be an evocative way of engaging a community and can result in a variety of effects. The chapter discusses both personal effects, relating to personal growth, people’s social life and feelings of pride, as well as effects at the village level, such as the creation and strengthening of bonds between the inhabitants. Effects are expected to go a long way and be a great boost for a community’s organizational capacity and future activities. In light of these findings, it appears to be a successful formula to have artists coming to a community as ‘outsiders’, actively engaging inhabitants in a large community arts project that is both locally grounded and offers the inhabitants various ways of participating themselves.

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Davis, Scott, Yanthe van Nek, and Lummina G. Horlings. "How to Nurture Ground for Arts-Based Co-Creative Practice in an Invited Space: Reflections on a Community in North Netherlands." In Co-Creativity and Engaged Scholarship, 229–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_8.

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AbstractThis chapter provides inspiration for researchers and practitioners who aim to engage with a community using (arts-based) creative practices, inclusive of dealing with the challenges this presents. We do this by reflecting on an illustrative case, a community engagement strategy that nurtured the ground for such practice under ‘invited space’ conditions. The questions that guide this chapter are: How should a creative practitioner deal with the constraints of an invited space when engaging with a community in the initial stage of a project? And, how best then to respond to the needs of the community on their own terms, rather than to external interests? To address these questions, we draw upon a place-based, cultural project situated in a village in the north of the Netherlands. The village is currently in the midst of two significant spatial transformations, namely municipality boundary changes and the construction of a windpark within its immediate environment, which caused distress and opposition among the residents. The case demonstrates how a creative practitioner was able to flip the constraints of co-creating within an invitational space ‘on its head’ by transforming this challenge into an invitation from the community themselves to continue the project on their own terms. This reversal was enacted by the creative practitioner implementing a community engagement strategy that reflects many of the participatory action research principles outlined in Neal’s (Playing for Time: Making Art as if the World Mattered, 2015) ‘art of invitation’. The findings provide inspiration for researchers and practitioners that aim to apply arts-based co-creative practices, including how to navigate existing power balances and re-centre a cultural project towards the needs of the community.

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Bonnycastle, Marleny M., and Tuula Heinonen. "Using arts to engage community." In Art in Social Work Practice, 190–202. 1st Edition. | New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315144245-19.

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Amans, Diane. "Guidelines for Venue Staff — Generation Arts." In An Introduction to Community Dance Practice, 243–44. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-05623-8_40.

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Sivakumaran, Shamila. "Community theatre and community work." In Art in Social Work Practice, 203–18. 1st Edition. | New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315144245-21.

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Alexander, Sarah Ruth. "Community Building Through Collaboration." In Art as Social Practice, 233–40. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003169109-23.

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Boulding, J. Russell. "Women in Community (1977)." In Pioneers in Arts, Humanities, Science, Engineering, Practice, 3–11. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30978-1_1.

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Тези доповідей конференцій з теми "Community arts practices":

1

Wolfe, Byron, and Seher Erdoǧan Ford. "How Do We Work? Metacognition in Creative and Collaborative Practices." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.64.

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constitute best practices for initiatingand maintaining sustainable collaborations?These questions arise regularly within the context of our institution, Tyler School of Art and Architecture, which is part of TempleUniversity in Philadelphia, Pennsylvania. The school includes the departments of Architecture and Environmental Design, Art Education and Community Arts Practices, Art History, Studio Art, and Graphic and Interactive Design. It recently updated its structure and adopted a name that captures its breadth of programs to support cross-disciplinary study and reflect current understanding of creative practice and research.One of us being a professor in Studio Art with a background in Photography and the other in Architecture and EnvironmentalDesign, our collective experience and shared interests in interdisciplinary engagements motivated us to design and co-teach a new, graduate-level course focusing on collaboration and the creative process. Following preparations and planning for about a year, we taught the course titled “ Collaboration and Creativity” three times since its first iteration in the fall of 2017. Each semester varied widely in terms of the number of students enrolled, background and expectations both on the part of the students as well as us, as instructors. So far the cohort has included students from architecture, photography, ceramics, glass, painting, printmaking, sculpture and film and media programs.To facilitate research-based collaborative work, we considered place-based topics, allowing for various modes of research, which would generate connections with the local environment. Since students from diverse disciplinary backgrounds and with different skill-sets enroll in the course, we deliberately selected a neutral topic of study, a locally sourced stone, in order to encourage a shared experience of discovery. Taking its name from the creek that defines the northwestern arm of the city of Philadelphia, the Wissahickon schist stone—a metamorphic rock—is widely used in historical construction in the area and well-recognized for its distinct specks of shiny mica and multi-toned layers of gray, blue, brown, and black. We decided to work with this stone as a departure point for diverse lines of inquiry into physical, historical, cultural, and social domains.

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Cronin, James G. R. "UCC enters Cork Prison: Transformative pedagogy through arts education." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc.2019.18.

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This paper makes explicit processes of collaboration in a learning community partnership between Cork Prison and University College Cork (UCC). Cork Prison is a closed, medium security prison for adult males. It is a committal prison for counties Cork, Kerry and Waterford. The learning partnership has two objectives: firstly, to foster critical thinking strategies influenced by UCC’s application of the Project Zero Classroom, Harvard Graduate School of Education; secondly, to support student voices by promoting conversations on creativity resulting in the production of artworks exhibited during summertime on Spike Island, Cork Harbour, communicating prison as community in society.

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Rubin, Victor, Celina Tchida, Maria Rosario Jackson, and Theresa Hwang. "The Pedagogy of Creative Placemaking: A Field Begins to Come of Age." In 2019 ACSA Fall Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.fall.19.6.

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Creative placemaking has been evolving from a narrow definiti on of applying art and design ideas to community projects into a more expansive, equity-focused field of practice. As the funder consortium Art Place America describes it, “Creati ve placemaking happens when artists and arts organizations join their neighbors in shaping their community’s future, working together on place-based community outcomes. It’s not necessarily focused on making places more creative; it’s about creatively addressing challenges and opportunities…. creative placemaking at its best is locally defined and informed and about the people who live, work, and play in a place.”

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Barata, Ana, Paula Escudeiro, Valérie Duarte, and Jadir Lino. "INCLUSION THROUGH DIGITAL ARTS: CREATING A COMMUNITY OF PRACTICE." In International Conference ICT, Society, and Human Beings 2019. IADIS Press, 2019. http://dx.doi.org/10.33965/ict2019_201908l018.

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Lewis, Leah. "Immigrant and Refugee Youth, Community-Based Arts Practice, Belonging, and Inclusion in St. John's, Newfoundland." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1432096.

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"The Mixed Teaching Mode of College English in the Practice Community." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.087.

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Grieve, Fiona, and Kyra Clarke. "Threaded Magazine: Adopting a Culturally Connected Approach." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.62.

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It has been ten years since the concept of the Publication Platform has been published in the special edition of the Scope Journal ISSN (online version; 1177-5661). The term ‘Publication Platform’ was introduced in the Practice Report, The Site of Publication in Contemporary Practice. This article surveyed a series of publication projects analysing distinctive editorial models as venues for discussion, collaboration, presentation of practice, and reflection. In this context, the term Publication Platform is employed to describe a space for a series of distinctive editorial modes. The platform considers printed matter as a venue for a diversity of discourse and dissemination of ideas, expanding the meaning and boundaries of printed media through a spectrum of publishing scenarios. The Publication Platform positions printed spaces as sites to reflect on editorial frameworks, content, design practices, and collaborative methodologies. One of the central ideas to the report was the role of collaboration to lead content, examining how creative relationships and media production partnership, affect editorial practice and design outcomes. Ten years after, the Publication Platform has evolved and renewed with emergent publishing projects to incorporate a spectrum of practice responsive to community, experimentation, interdisciplinarity, critical wiring, creativity, cultural production, contemporary arts, and craft-led discourse. This paper presents a case study of ‘Threaded Magazine’ as an editorial project and the role of its culturally connected approach. This study uses the term ‘culturally connected approach’ to frame how Threaded Magazine embodies, as a guiding underlying foundation for each issue, the three principles of Te Tiriti o Waitangi: Participation, Protection and Partnership. This presentation reflects on how these principals connect to who Threaded Magazine are collectively as editors and designers, and determined by who we associate with, partner, and collaborate with. A key factor that influenced Threaded Magazine to adopt a more culturally connected approach arose by the invitation to participate in the international publication entitled Project 16/2, commissioned by Fedrigoni Papers for the Frankfurt Bookfair, in Germany. The Project 16/2 created an opportunity for a process of editorial self-discovery. This trajectory translated the tradition of oral storytelling into graphic language, conveying the essence (te ihi) of who we were. The visuality and tactility of the printed media set a format for Threaded Magazine to focus on Aotearoa’s cultural heritage, original traditions, and narratives. This paper overviews the introduction of a kaupapa for Issue 20, the ‘New Beginnings’ edition and process of adhering to tikanga Māori and Mātauranga Māori while establishing a particular editorial kawa (protocol) for the publication. The influence and collaboration with cultural advisory rōpū (group) Ngā Aho, kaumātua and kuia (advisors) will elaborate on the principle of participation. Issue 20 connected Threaded Magazine professionally, spiritually, physically, and culturally with the unique identity and landscape of Indigenous practitioners at the forefront of mahi toi (Māori Contemporary art) across Aotearoa. Special Edition, Issue 21, in development, continues to advance a culturally connected approach working with whānau, kaiwhatu (weavers), tohunga whakairo (carvers), kaumātua and kuia to explore cultural narratives, connections, visually through an editorial framework.

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Toumova, Kristyna. "IMPORTANCE OF CONCEPTUAL MODELS IN CLINICAL AND COMMUNITY PRACTICE FROM NURSES PERSPECTIVE." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb31/s13.063.

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Mortensen Steagall, Marcos, and Sergio Nesteriuk Gallo. "LINK 2021 3rd International Conference on Practice-led research in Art and Design: Forward." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.174.

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The LINK conference emerged from reflections and concerns that we always had about our own actions as educators, researchers, and practitioners in the field of Art and Design. Over the years, we have noticed that such concerns have not disappeared. On the contrary: they have multiplied, diversified, and become more complex. The more we dialogued with people worldwide, especially from the socalled “Global South”, the more we realised that these same issues were also dear to our colleagues, albeit with their own colours and contours. This is the LINK that unites us. The first step was taken as a small in-person event for guests, held in 2019 at the AUT’s South Campus in Manukau. At that time, there was no intention of organising an annual conference. The magnitude of the issues raised seemed to have a particular inhibiting effect on the incompleteness of the conference itself, considering the potential for the rich and fruitful exchange of ideas. Despite, or perhaps precisely because of the difficulties and adversities, this new scenario compelled us to move forward. The second edition of LINK, carried out in a hybrid way in 2020, expanded the quantity, diversity and quality of the works presented. Emerging themes, new epistemologies, and the multiple relationships between theory and practice (if such a distinction can be made) have consolidated as a sort of amalgam of LINK’s main issues. It covers, in a transversal and interdisciplinary way, arguably the entire field of Arts and Design. These discussions expanded beyond the event, and a special issue with 13 articles was published in the DAT Journal in 2021. At this moment, our doubts and uncertainties gave way to the commitment to promote a better event in each new edition. Furthermore, this commitment is only possible thanks to a team that is both dedicated and passionate about this purpose that unites us. Later that year, the Covid-19 pandemic began to spread across the world. In a short time, uncertainty gave way to millions of people’s anguish, suffering, and pain. At the same time, many ideas, beliefs, and values are starting to be reconsidered, bringing new challenges for a new era. Science, the construction of knowledge, and the University itself have a paradigmatic role in this moment of transformation and the search for the construction of a better world. Research changes the world. LINK’s community is constated by researchers to leverage parameters to activate different ways in which practice can create knowledge. They are based on cultural, geographic, and ideological positions shaped by the communitarian and the glocal. Thus, in offering these practice-oriented research considerations, we propose that we can learn “from” rather than “about”. This feeling emanates from recognising that the peculiar stories that generate social and artistic practices form dialogic encounters with voices on the periphery of authority and loop an iterative process to generate their own theoretical foundations.

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Karkono, Karkono, Bani Sudardi, Istadiyantha Istadiyantha, and Titis Srimuda Pitana. "Community Reception Towards Poligamy Practice in Film of Air Mata Surga." In Proceedings of the Third International Conference of Arts, Language and Culture (ICALC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icalc-18.2019.29.

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Звіти організацій з теми "Community arts practices":

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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

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Kibler, Amanda, René Pyatt, Jason Greenberg Motamedi, and Ozen Guven. Key Competencies in Linguistically and Culturally Sustaining Mentoring and Instruction for Clinically-based Grow-Your-Own Teacher Education Programs. Oregon State University, May 2021. http://dx.doi.org/10.5399/osu/1147.

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Grow-Your-Own (GYO) Teacher Education programs that aim to diversify and strengthen the teacher workforce must provide high-quality learning experiences that support the success and retention of Black, Indigenous, and people of color (BIPOC) teacher candidates and bilingual teacher candidates. Such work requires a holistic and systematic approach to conceptualizing instruction and mentoring that is both linguistically and culturally sustaining. To guide this work in the Master of Arts in Teaching in Clinically Based Elementary program at Oregon State University’s College of Education, we conducted a review of relevant literature and frameworks related to linguistically responsive and/or sustaining teaching or mentoring practices. We developed a set of ten mentoring competencies for school-based cooperating/clinical teachers and university supervisors. They are grouped into the domains of: Facilitating Linguistically and Culturally Sustaining Instruction, Engaging with Mentees, Recognizing and Interrupting Inequitable Practices and Policies, and Advocating for Equity. We also developed a set of twelve instructional competencies for teacher candidates as well as the university instructors who teach them. The instructional competencies are grouped into the domains of: Engaging in Self-reflection and Taking Action, Learning About Students and Re-visioning Instruction, Creating Community, and Facilitating Language and Literacy Development in Context. We are currently operationalizing these competencies to develop and conduct surveys and focus groups with various GYO stakeholders for the purposes of ongoing program evaluation and improvement, as well as further refinement of these competencies.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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Schell, Laurie. Introduction to Case-making and Systems Change in Arts & Cultural Education. Creative Generation, February 2022. http://dx.doi.org/10.51163/creative-gen009.

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Introduction to Case-making and Systems Change in Arts & Cultural Education is an overview of a collaborative project between Creative Generation and ElevateArtsEd undertaken to better understand how practitioners - such as artists, educators, community leaders, and more - can make the case for and also advocate through arts and culture to drive systemic change and address complex challenges. The project seeks to expand the knowledge base of case-making and systems change in the field of arts and cultural education and provide resources to support effective actions for practitioners and young creatives. Investigating both the theory and the practice of case-making, the introductory article draws on research from three distinct sectors: cultural, education, and social justice. The approach represents both the science of advocacy-- building blocks for understanding what effective advocacy looks like-- and the art of advocacy with calls for improvisation, adaptability, and generative thinking, all characteristics of art making. The article describes six key learning themes and an expanded model for advocacy focused on self, field, and sector through an overarching lens of social justice.

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Barajas, Jesus, Lindsay Braun, Amanda Merck, Bob Dean, Paul Esling, and Heidy Persaud. The State of Practice in Community Impact Assessment. Illinois Center for Transportation, August 2022. http://dx.doi.org/10.36501/0197-9191/22-011.

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The objective of this research was to provide recommendations to the Illinois Department of Transportation for updating and revising the “Community Impact Assessment Manual” in accordance with the latest research and practice. The guide incorporated findings from a literature review, a scan of state department of transportation (DOT) community impact assessment (CIA) guidance and manuals, a survey of practitioners from state DOTs involved in CIA, and a series of interviews with those same practitioners to recommend process updates. According to the Federal Highway Administration, community impact assessment can be defined as “an iterative process to evaluate the effects of a transportation action on a community and its quality of life,” which includes elements of health, safety, air quality, connectivity and access, and equity. Six states had publicly available CIA guidance. While all manuals provided basic guidance, some were more detailed in prescribing analytical methods for different types of impacts or provided more structure for conducting the analysis, such as report templates, technical memos, interactive screening tools, field visit checklists, and community context audit forms. According to surveys and interviews with state DOT practitioners, DOTs varied in how or whether they conducted CIA, whether they screened for the need for CIA in advance of conducting it, and what factors they consider when conducting them. A few DOTs had innovative practices with respect to CIA, such as mapping tools, an equity and health assessment, and robust community engagement. The CIA guidance produced as a component to this project constitutes the state of the art in practice, including quantitative and qualitative analytical methods for screening and methods for conducting and documenting CIA. The guidance also emphasizes equity in the assessment process.

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Myrttinen, Henri. Connecting the Dots: Arms Control, Disarmament and the Women Peace and Security Agenda. UNIDIR, October 2020. http://dx.doi.org/10.37559/gen/20/01.

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Connecting the Dots examines the normative and practical overlaps and connections of the Women, Peace and Security (WPS) agenda with the field of arms control and disarmament. Using an original approach to gender-responsive arms control and disarmament measures that is structured around the four WPS pillars of participation, prevention, protection, and relief and recovery, this report identifies current best practices and areas for further action. The report shows that further integration can bring benefits for both fields. For the arms control and disarmament community, the WPS pillars give structure and guidance to the comprehensive integration of gender perspectives, which thus far has been a piecemeal effort. For WPS policy actors and practitioners, engaging with arms control and disarmament helps to operationalize the WPS agenda, giving concrete substance to each of its pillars.

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Tolani, Foyeke, Betty Ojeni, Johnson Mubatsi, Jamae Fontain Morris, and M. D'Amico. Evaluating Two Novel Handwashing Hardware and Software Solutions in Kyaka II Refugee Settlement, Uganda. Oxfam, November 2020. http://dx.doi.org/10.21201/2020.6898.

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The Promotion and Practice Handwashing Kit (PPHWK), a robust, user-friendly handwashing station, and Mum’s Magic Hands (MMH), a creative hygiene promotion strategy, were evaluated in a clustered randomized controlled trial in Kyaka II refugee settlement in Uganda. The trial evaluated whether their provision increased handwashing with soap practice among residents, with a focus on three community intervention arms and two school-based intervention arms. The findings outlined in this report suggest that exposure to both the PPHWK and MMH increased hygiene knowledge and handwashing behaviour with soap, and improved health outcomes. Intervention households also preferred the PPHWK over existing handwashing stations, typically a basic bucket with a tap.