Статті в журналах: "Community arts practices"

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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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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’.

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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.

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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.

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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.

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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).

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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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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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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.

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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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Khan, Aisha. "Dark Arts and Diaspora." Diaspora: A Journal of Transnational Studies 17, no. 1 (June 2013): 40–63. http://dx.doi.org/10.3138/diaspora.17.1.40.

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Exploring the relationship between diaspora and creolization, this article analyzes their shared theoretical foundation in the concept of community. With the premise that empirical evidence of social behavior is both a problematic and a necessity in understanding processes of diaspora and creolization, the article takes as its case in point a cultural phenomenon commonly known in the Atlantic World as obeah: magical practices using supernatural powers. Deriving largely from West and Central African religious traditions, but also from European and South Asian sources, obeah is consummately creole. It is found in various forms in virtually all Caribbean diasporas in North America and in other diaspora destinations such as the United Kingdom. Obeah’s fraught and complex four centuries of colonial history has rendered it as bane and succor at the same time, both embraced and denied by dominant as well as subaltern peoples. These qualities of ambivalence and ambiguity raise probing questions about the creation and role of “community” in producing diasporic identities and the transformational, creolized cultures they carry. The article will discuss obeah’s Caribbean slave plantation past and its diasporic present, asking how obeah, a creolelized, simultaneously inclusive and divisive phenomenon, figures in the formation of community and thus in defining and interpreting diaspora.

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Csesznek, Codrina, and Florentina Scârneci-Domnişoru. "Changes in working practices in a rural community of Romania." Visual Communication 18, no. 2 (January 24, 2019): 189–204. http://dx.doi.org/10.1177/1470357218812206.

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This visual essay uses photographs to present the changes undergone by labour in a typical village of Romania. The images were captured in two stages, in 2004 and in 2017, when the authors attempted re-photographing the same frames representing the pursuit of several occupations. The essay reveals some household chores which did not undergo any change at all, as well as others that disappeared altogether. The essay also reveals the major changes undergone by specialized labour during this 13-year period.

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Luo, Ning, and Chung‐Yim Lau. "Community‐Based Art Education in China: Practices, Issues and Challenges." International Journal of Art & Design Education 39, no. 2 (March 30, 2020): 445–60. http://dx.doi.org/10.1111/jade.12287.

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Gobo, Blessing Ngowari, Chris N. Ngwu, and Mina Ogbanga. "The Effects of Cultural Practices and Knowledge Systems on Community Development." Management Insight - The Journal of Incisive Analysers 16, no. 02 (December 25, 2020): 9–16. http://dx.doi.org/10.21844/mijia.16.2.2.

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Culture and knowledge systems are important for community development. Culture characterizes us as human-beings and members of a community. A country rich, strong and powerful country as Nigeria is made up of diverse cultural practices, ethnic groups and knowledge systems that help in shaping her day-to-day live and activities. Knowledge systems held by most communities are based on their experience and adaptation to their culture, education, crafts, religion, theatre, natural resources management arts, dance and music. This paper adopted the secondary data design in eliciting relevant information to buttress the topic considered. The purpose of this paper is to attempt the effects of cultural practices and knowledge systems on community development. In conclusion, this paper suggests that community leaders, policymakers and relevant bodies must take up actions that preserve these cultural practices and knowledge systems that help in community development.

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Gurevich, Michael. "Diversity in NIME Research Practices." Leonardo 49, no. 1 (February 2016): 80–81. http://dx.doi.org/10.1162/leon_a_01120.

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This article advocates for a dialogue about research traditions and paradigms within the community around New Interfaces for Musical Expression (NIME). Although the research community collectively values interdisciplinarity, the author argues that we have not done enough to acknowledge and account for the inevitable epistemological differences that emerge with disciplinary diversity. Over time, NIME has seen a rise in the proportion of technical reporting and a concomitant decline in practice-based research, which historically played a more central role. Exploration and explication of the values, assumptions, and expectations that circumscribe legitimacy in practice-based research are needed in order to maintain and advocate for its relevance.

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Azam Azmi, Noor, Amirul Nizam, Diana Mohamad, and Badaruddin Mohamed. "Beaded shoes: the culture of Baba Nyonya." SHS Web of Conferences 45 (2018): 02003. http://dx.doi.org/10.1051/shsconf/20184502003.

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Despite the rapid changes in shoes’ arts and designs due to globalization of cultures and customs, beaded shoes of Baba and Nyonya (else addressed as Baba Nyonya) remain in demand locally and globally. Baba Nyonya is one of the unique tribe or community in Malaysia because of their practiced lifestyle that harmonically combine both Malay and Chinese cultures. This paper descriptively discussed the basic procedure of making beaded shoes which include the philosophy and variations that still exist nowadays, in addition to discussing the technique applied when making beaded shoes. The paper also discussed about how the heritage of arts is still being applied by new generations these days where this is in parallel with the old quotes ‘the time might not demolish the heritage arts’. The method employed by the researcher include revisiting literature regarding to the beaded shoes introduced by Baba Nyonya community. To earn a depth and detail information regarding to the beaded shoes, an interview was held with the informant which is one of the motivator or advisor that still practices the heritage arts of Baba Nyonya beaded shoes. The responsibility of continuing the culture is deemed vital and important so the new generation will appreciate and practice the culture practiced by Baba Nyonya.

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Moura, Anabela, and Raquel Moreira. "Arts-Based Service Learning: A Vehicle for Development and Sustainability of Communities." Advances in Social Sciences Research Journal 9, no. 8 (August 31, 2022): 538–52. http://dx.doi.org/10.14738/assrj.98.12919.

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Through this qualitative study we intend to show how an Arts-Based Service-Learning Program was implemented with Fine Arts Students, in a Higher School of Education of a Portuguese Polytechnic Institution, Portugal, in collaboration with some local communities and how this Program helped to understand such pedagogical tool as a way of integrating arts-based service in the community with learning that enriches the participants' experience, strengthening community relationships, bringing about change in their environments and presenting the students and community views on the approval and involvement of a sustainable program. We also try to point out the importance of the involvement and collaboration of an art gallery in this process, presenting a brief description of one student’s project as an example of a pedagogical resource of our service-learning practices.

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Wardhana, Muhammad Kusuma. "Surabaya Arts Center: A Formation of Musical Orchestration Taste in Balai Pemuda (Youth Hall)." Gelar : Jurnal Seni Budaya 19, no. 2 (December 1, 2021): 159–68. http://dx.doi.org/10.33153/glr.v19i2.3540.

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AbstractThis research will explain how taste can be formed and developed from a musical arts community called Pusat Olah Seni Surabaya (POSS), where this community always holds practices in musical arts in the Balai Pemuda area. By using Pierre Bourdieu's aesthetic taste, which is formed through the aspects of habitus, capital, and the realm contained in this phenomenon, the researcher sees that this POSS activity is an attempt to build a taste for music orchestration as a form of resistance from the lower class to upper-class culture.Keywords: Habitus; Capital; Domain; Taste; Subculture

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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.

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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.

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Richardson, Pamela, and Kathryn Ricketts. "Review of “Arts-based Contemplative Practices in Education”: 2017 Canadian Society for Studies in Education ARTS Pre-conference." Art/Research International: A Transdisciplinary Journal 2, no. 2 (August 23, 2017): 168. http://dx.doi.org/10.18432/r2s91k.

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This review is a poetic and photographic response to a pre-conference session convened in May 2017 by the Arts Researchers and Teachers Society (ARTS) of the Canadian Society for Studies in Education, and organized by Susan Walsh, Barbara Bickel, Carl Leggo, and Diane Conrad. The gathering took place in Toronto, Canada on the traditional territory of the Haudenosaunee, and of the Mississaugas of the New Credit First Nation. The theme of the pre-conference was arts-based contemplative practices in education. The day offered a collaborative space for learning and co-creation as a community of practice supported by a hospitable and responsive design. This enabled movement away from traditional vertical hierarchies of knowledge dissemination towards more lateral exchanges and emergent learning structures.

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Wulandari, Devita, Okta Hadi Nurcahyono, and Abdul Rahman. "Revisiting Tradition-Religion Relationship in Javanese Tayub Dance: How Local Community Deals with Dilemmas." Walisongo: Jurnal Penelitian Sosial Keagamaan 29, no. 1 (May 20, 2021): 121–40. http://dx.doi.org/10.21580/ws.29.1.8578.

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Tayub is one of the traditional arts in Indonesia that is still preserved until today. This dance art, for example, is practiced by the Indonesian Islamic Da'wah Institute (LDII) community. Tayub, usually held once a year, is believed to have high values, although many people perceive it negatively. This study aims to reveal why the local religious community still maintains and practices Tayub dance art. The study employs a qualitative approach with a case study on Tayub dance art practiced by the LDII community in Sukoharjo. Data for this study were collected from observations, interviews, and documentation. The study reveals that the socio-religious traditional art practiced by the LDII community brings the community into a dilemma; they should live by either following traditions or carrying out religious tenets. The LDII community continues to maintain and practice the Tayub dance art as an expression of their gratitude. The local community believes that there are noble values contained in Tayub dance art, such as gratitude for God's grace, friendship, and harmony in society. However, many still view this art as a tradition that is not in accordance with religious tenets.

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Herrera, Luz E. "Community Law Practice." Daedalus 148, no. 1 (January 2019): 106–12. http://dx.doi.org/10.1162/daed_a_00542.

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Community-embedded law practices are small businesses that are crucial in addressing the legal needs that arise in neighborhoods. Lawyers in these practices attend to recurring legal needs, contribute to building a diverse profession, and spur community development of modest-income communities through legal education and services. Solo practitioners and small firm lawyers represent the largest segment of the lawyer population in the United States, yet their contributions to addressing the legal needs of modest-income clients are rarely recognized or studied. This essay sheds light on the characteristics, motivations, and challenges these law practices face in providing access to justice to modest-means communities.

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Carrasco, Ruben David Fernández, Moisés Carmona Monferrer, and Andrés Di Masso Tarditi. "Exploring links between empowerment and community-based arts and cultural practices: perspectives from Barcelona practitioners." International Journal of Inclusive Education 20, no. 3 (June 12, 2015): 229–45. http://dx.doi.org/10.1080/13603116.2015.1047659.

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Karuppasamy, P., S. Manohari, and G. Amudha. "Best Practices in Arts and Science College Libraries in Dindigul District." Indian Journal of Information Sources and Services 9, S1 (February 5, 2019): 60–63. http://dx.doi.org/10.51983/ijiss.2019.9.s1.562.

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The Best practices are helping the users to derive maximum satisfaction from the library services. It is customer satisfaction through product or service. In an academic library student and teachers are the customers who are part of the academic community. Tiwari (2016) has proved that innovate services are more significant than heavy advertisements. This study has concluded that the library innovations service of the library can help the purpose of advanced teaching and learning. Yasmin and Gnanaprasad (2017) have adopted fourteen best practices of the library services. This study concluded that best practices help to improve the quality of library services. This study has to examine the efficiency and effectiveness of the Content Management Software, Web page information sources, awareness programme of the Arts and Science College libraries of Dindigul District. Primary data was collected through questionnaire method. Garret’s Ranking Techniques was used for this study to analyze the data. E-mail alert facilities are necessary to improve the quality of the best practices of the library service.

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Dwyer, Claire, Katy Beinart, and Nazneen Ahmed. "My Life is but a weaving: embroidering geographies of faith and place." cultural geographies 26, no. 1 (August 22, 2018): 133–40. http://dx.doi.org/10.1177/1474474018792703.

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This article reflects on creative arts practice as a means to research the interrelationships of creativity and faith through discussion of a textile-based arts project undertaken with women of diverse religious backgrounds in West London. Building on research on the significance of vernacular religious textiles in community space and in domestic religious practice, the arts project developed a collective embroidery installation exploring the theme of prayer and its intersections with embodied practices of creativity and biographical narratives of faith, migration and home.

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Dunlap, Jamie, Steven Horner, and Catherine Richmond-Cullen. "Creative Aging Collaborations: New Directions in Solving Critical Societal Aging and Health Problems." Innovation in Aging 4, Supplement_1 (December 1, 2020): 643. http://dx.doi.org/10.1093/geroni/igaa057.2211.

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Abstract From the grassroots development of creative aging research to broad base community collaborations that address the issues of today and tomorrow, this presentation will illustrate how state departments of aging and state arts agencies can combine to partnership with research universities to demonstrate the efficacy of the arts to mediate problems of loneliness, isolation and caregiver stress. This case study will show how resources can be expanded and effective practices established through community based research to find ways to build healthy and engaging communities that serve to break down the barriers of isolation and promote social networks.

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van den Berg, Sarah Gerth, and Maria Liu Wong. "Stitching story and life together: Participatory textile making practices at a Harlem gallery." Journal of Arts & Communities 11, no. 1-2 (December 1, 2020): 81–91. http://dx.doi.org/10.1386/jaac_00016_1.

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What brings a tourist from Italy, a lifelong resident of Harlem and a graduate student from a local university together? Crochet hooks, knitting needles, an assortment of green acrylic yarn and time and space for community craftivism. This case study focuses on crossing boundaries through participatory textile making, making time and space for relationship building in the changing neighbourhood of Harlem and practicing institutional stewardship as a ‘good neighbour’. The Walls-Ortiz Gallery and Center – the arts and research space of City Seminary of New York, an intercultural urban theological learning community – affords an opportunity to explore what happens when lives and stories are stitched together through participatory textile practices. Through the lenses of the EcCoWell learning neighbourhood approach and craftivism, this documentation and reflection of data from collaborative yarn bombing and community quilt-making projects over the past two years provide insights on lessons, challenges and opportunities of these community-oriented practices.

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Miller, Rosina S. "Unhaunting the Village: Critical Regionalism and "Luminous Place" at the Village of Arts and Humanities." Journal of American Folklore 117, no. 466 (October 1, 2004): 446–54. http://dx.doi.org/10.2307/4137720.

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Abstract This note explores the possibilities of a critical regionalist approach to the study of folk communities through an examination of a community arts organization that imagines and produces an enriched inner-city region through practices that critically examine received dominant values and celebrate available community resources. Following Appadurai, the organization’s attempt to "control the means of their own self-reproduction" is explored through the attention to time, revision of space, creation of rituals, and focus on perception.

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Johanson, Katya, and Hilary Glow. "Reinstating the artist’s voice: Artists’ perspectives on participatory projects." Journal of Sociology 55, no. 3 (September 20, 2018): 411–25. http://dx.doi.org/10.1177/1440783318798922.

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Claire Bishop argued that the ethical lens applied to socially engaged arts practice encourages ‘authorial renunciation’ in favour of collaboration and limits the opportunity to expose such practice to critical reception. This article responds to Bishop’s implicit call to envision an artist-centred framework for participatory arts by identifying the motivations and beneficial discoveries that artists make when they seek out the creative involvement of others. Based on interviews with Australian performing artists who have established socially engaged practices, the article aims to bring about a form of ‘authorial reinstatement’ into the value system around participatory arts practice. It identifies a range of motivations for artists who establish socially engaged or participatory practice, from self-developmental to altruistic; and from arts-focused to community- and society-focused. The article argues that using these motivations to inform indicators of achievement for participatory practice provides new opportunities for critical interrogation of those practices.

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Hanson, Cindy, and Heather Fox Griffith. "Tanning, Spinning, and Gathering Together: Intergenerational Indigenous Learning in Textile Arts." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 2, no. 1 (July 29, 2017): 225–46. http://dx.doi.org/10.15402/esj.v2i1.208.

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Intergenerational Learning in Indigenous Textile Communities of Practice was an interdisciplinary arts- and community-based study that inquired into the intergenerational practices of beading and weaving in two Indigenous contexts – one in Southern Chile and the other in Northern Saskatchewan, Canada. The research process involved building relational networks, developing decolonizing methodologies, and working with collaborators, elders, community coordinators, and members of Indigenous textile communities of practice. The research methods, which are a focus of this article, included the use of artifacts to draw out memories and stories of intergenerational learning and to engage the communities in deciding how to share the knowledge generated. Both the data gathering methods and the knowledge mobilization led to arts-based outcomes. The study specifically inquired into how learning is structured and passed on to subsequent generations within communities of practice and the findings provide insights into the way this knowledge is transferred and/or disrupted. Critical reflection on the process highlighted some of the challenges that arose – both with the academic researcher and the community and inside the community.

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Henthorn, Jamie. "International Fan Professionalization on Viki." Television & New Media 20, no. 5 (April 21, 2018): 525–38. http://dx.doi.org/10.1177/1527476418770742.

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Global economies and digital diasporas have led to a rise in fansubbing sites, one of the largest being Viki. Viki uses amateur expert fans to translate media from around the world into over two hundred languages. Global markets and for-profit fansubbing companies encourage volunteers to establish their own work practices. In examining the posts to one large segmenting forum, this article identifies ways Viki segmenters adapt workplace practices to online fan communities as well as ways that volunteers adapt localized community practices to online spaces. Specifically, volunteers adopted localized professional work etiquette to online leisure activities. This research expands understandings of global fan communities, referencing ways localized community practices continue to intersect with understandings of online work and leisure.

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Caust, Josephine. "Cultural Rights as Human Rights and the Impact on the Expression of Arts Practices." Journal of Citizenship and Globalisation Studies 3, no. 1 (January 31, 2020): 17–30. http://dx.doi.org/10.2478/jcgs-2019-0004.

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AbstractCultural rights are becoming an increasingly important area of human rights discussion given the association between culture, identity and social equity. The subject is considered here in the context of how the absence of cultural rights influences both the recognition of the diversity of cultures and the capacity of some to access and practice art. Culture and arts practices are intertwined but certain arts practices are prioritised over others by funding bodies, governments and institutions. Recent examples from Australia are highlighted, in which changes to the cultural makeup of the country are occurring at a rapid rate without adequate responses from governments to address funding inequities. It is argued here that unless cultural rights are seen as a basic human right and embedded in the legal national framework, then sectors of the broader community are disenfranchised.

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Caust, Josephine. "Cultural Rights as Human Rights and the Impact on the Expression of Arts Practices." Journal of Citizenship and Globalisation Studies 3, no. 1 (March 30, 2021): 17–30. http://dx.doi.org/10.21153/jcgs2019vol3no1art1051.

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Cultural rights are becoming an increasingly important area of human rights discussion given the association between culture, identity and social equity. The subject is considered here in the context of how the absence of cultural rights influences both the recognition of the diversity of cultures and the capacity of some to access and practice art. Culture and arts practices are intertwined but certain arts practices are prioritised over others by funding bodies, governments and institutions. Recent examples from Australia are highlighted, in which changes to the cultural makeup of the country are occurring at a rapid rate without adequate responses from governments to address funding inequities. It is argued here that unless cultural rights are seen as a basic human right and embedded in the legal national framework, then sectors of the broader community are disenfranchised.

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Pike, Shane, Sasha Mackay, Michael Whelan, Bree Hadley, and Kathryn Kelly. "‘You can’t just take bits of my story and put them into some play’: Ethical dramaturgy in the contemporary Australian performance climate." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 69–87. http://dx.doi.org/10.1386/peet_00018_1.

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In Australia a vibrant tradition of participatory and often politically motivated performance work developed under the term ‘community arts and cultural development’ across the 1980s, 1990s and early 2000s. In this body of practice, considerations of ethics are articulated through process, practices and representation rather than content. Though effective, community arts as it developed in Australia is often time, resource and emotionally intensive for artists, community participants and audiences. In recent years, retraction of funding, as well as shifts in practice towards live art, performance art and relational aesthetics have reduced the resources available for these once prominent practices. Practitioners are confronting challenges and needing to develop new ways of working in an operating environment where long-term consultation is not necessarily possible or preferred by stakeholders. In this article, we reflect on the current state of play for practitioners seeking to develop ethical dramaturgy in performance works that collaborate with communities to tell life stories or represent participants’ lived experiences in Australia. Through examples from our own practice, as practice-led researchers, we consider how work in this sector is under strain and experiencing scarcity, precarity and an increasing lack of access to institutional resources that have historically enabled ethically rigorous dramaturgical practices. We aim, through this process, to rediscover and rearticulate an ethical dramaturgy for deployment in the Australian environment as it exists today.

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Sturtevant, Chuck. "Claiming belonging, constructing social spaces: Citizenship practices in an Afro-Bolivian town." Critique of Anthropology 37, no. 1 (February 22, 2017): 3–26. http://dx.doi.org/10.1177/0308275x16671789.

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Recent literature on citizenship practices and discourses highlights processes of ‘subjectification’ or ‘self-making’ in relation to a local community rather than the rights and responsibilities associated with the legal status bestowed on full members of a national community. In this paper, set in the town of Chicaloma in the Yungas region of Bolivia, I argue that this self-making is not simply a response to hegemonic national norms, nor to a communally defined image of its ideal member, but rather is bound up in simultaneous processes of ‘community-making’. Further, I argue that community-making is itself a hotly contested process. Access to specific social and economic resources is differentially available to those members of the community who are able to make more convincing claims to belonging. In this context, community members are engaged in an on-going process of making claims to belonging which work by constructing the social space in the image of the claimant as much as by producing the subject. They constitute an important citizenship practice through which subjects assert their rights in various instances of local governance, but they work by constructing the community as well as the citizen-subjects who populate it. Rather than yield clear categories of included and excluded, though, these practices and discourses result in fluid and unstable differentiations among actors, and, in fact, a fluid and unstable constitution of the community as a social space.

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Kukkonen, Tiina, and Benjamin Bolden. "Teaching Lives: An Arts-Informed Exploration of Teacher Experience." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 150–71. http://dx.doi.org/10.18432/ari29329.

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With this article we connect the knowledge and experiences of two retired schoolteachers to present-day paradigms of learning and teaching in schools through narrative and arts-informed research processes. By extracting meaning from narratives of teacher experience and representing those meanings using musical and visual art media and methods, we hope to engage percipients in a form of “empathetic participation” that may lead to new and/or revitalized conceptions of teaching and learning, inform current pedagogical practices, and enhance teachers’ sense of belonging to an intergenerational community of educators.

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Webster, Carol Marie, Panagiotis Pantidos, DeNapoli Clarke, and Jiannis K. Pachos. "Break-in’ Point: Somatic narratives: The convergence of arts and science in the transformation of temporal communities." Journal of Dance & Somatic Practices 14, no. 1 (July 1, 2022): 109–28. http://dx.doi.org/10.1386/jdsp_00073_1.

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Break-in’ Point, a 2012 arts and science performance and community engagement research initiative, was presented in the spring and fall semesters at the University of Leeds in the United Kingdom at Stage@Leeds. The outcome of a collaboration between dance artist A3 and theoretical physicist A2, under the direction of performance researcher A1, Break-in’ Point is based on a series of real-life encounters at intersections of arts and science – exploring force, risk, exposure and resilience. The Break-in’ Point performance offered an interrogation of the critical point at which physical, mental, and/or emotional strength give way under stress – causing structural degeneration and the experience of what lies beyond. This article is an examination of the performance, reviewing and analysing it as an imagined somatic zone – embodied encounters that transcend temporal bound-ness, compelling and igniting new possibilities – that engaged spiritual and epistemological transformation of performers and audiences. The article addresses three main periods in the life of Break-in’ Point: (1) the development period – script building and rehearsals, (2) the performance – live encounters between and among performers and audiences and (3) beyond the theatre – digital engagements in the classroom and pedagogy. The article contributes new concepts and new ways of thinking about science education, the role of digital technology in pedagogy, dance/theatre public engagement and community arts practices as practices of healing, health and resilience.

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Gilchrist, Paul, Claire Holmes, Amelia Lee, Niamh Moore, and Neil Ravenscroft. "Co-designing non-hierarchical community arts research: the collaborative stories spiral." Qualitative Research Journal 15, no. 4 (November 9, 2015): 459–71. http://dx.doi.org/10.1108/qrj-06-2015-0036.

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Purpose – The purpose of this paper is to examine the potential and durability of arts practice as research through developing a new approach to arts research that challenges the conventional association between dominant constructions of community and dominant modes of research. Design/methodology/approach – A co-design approach, situated in arts practice, has been used to generate a conceptual framework that offers potential to open up the workings of communities by examining them from the standpoint of those who have everyday experience of these communities. Findings – The paper argues that there can no longer be clearly demarcated boundaries between “academics” and “community partners” in a genuinely co-designed arts research process. Rather, there are “research partners” who share mutual recognition of skills and experiences that allow them to commit to a durable “new creative scholarship” that reflects their collective identities. Social implications – The conceptual framework celebrates the life stories of individuals at the expense of the grand metanarratives favoured by empirical sociology and mainstream humanities. The framework reflects the commitment of the authors to create accounts of communities that do justice to their collective wisdom, dynamism and connectivity, as well as their transience, their needs to transform and their responses to change, in ways that reflect the lives of those involved rather than the needs of externally imposed disciplinary regimes. Originality/value – The conceptual framework is a new approach to qualitative research; its value lies in putting the participants at the heart of the research process where they not only generate narrative, but also situate, mediate and remediate it in ways that extend conventional participative research practices.

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Pees, Edward. "Model validation in the test and evaluation community: Current practices." Journal of the Acoustical Society of America 150, no. 4 (October 2021): A91. http://dx.doi.org/10.1121/10.0007729.

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Merriweather, Lisa R. "The Spoken Word as Arts-Based Adult Education." Journal of Adult and Continuing Education 17, no. 2 (November 2011): 51–63. http://dx.doi.org/10.7227/jace.17.2.6.

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Arts-based adult education has been embraced by a growing number of adult educators. These educators have explored its potential in the workplace, in the community and in academia. This article contributes to this work by exploring the Spoken Word, an art form located within the genre of poetry, and its potential as a tool of arts-based adult education. Through engagement, imaginative learning, authenticity and embodying democratic ideals and practices, I explore how the Spoken Word's educational goals are consistent with core goals of adult education such as meaning-making, transformation and critical reflection which I believe makes it an important yet overlooked practice of adult learning.

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Thomas, Verena. "Yumi Piksa – Developing a community-responsive way of filmmaking in Melanesia." Pacific Journalism Review : Te Koakoa 17, no. 2 (October 31, 2011): 27–49. http://dx.doi.org/10.24135/pjr.v17i2.350.

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This article explores the collaborative application of media and arts-based research practices involving students from the University of Goroka (Papua New Guinea) as co-researchers. It critically examines the processes of developing a community-responsive approach to filmmaking in order to challenge preconceived notions of media and research practice in Papua New Guinea. The analysis draws on results from a film workshop run at the University of Goroka over a duration of six weeks through which a team designed a Melanesian approach to filmmaking practice. The research study found that stereotypical perceptions and understandings of Papua New Guinea communities could be challenged by respectful and community-responsive ways of making films involving local community members. It presents filmmaking as creating a meaningful space for exploring community relations and practices. Papua New Guinean co-researchers acted to bridge dialogue between rural communities, media technologies and the national and transnational media sphere.

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de Benedittis, Mario, and Raffaella Ferrero Camoletto. "Clothing the practice: Community building, sportification and commodification in CrossFit and parkour." International Journal of Fashion Studies 9, no. 1 (April 1, 2022): 173–97. http://dx.doi.org/10.1386/infs_00065_1.

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Relying on empirical data from two research projects on CrossFit and parkour, and adopting mixed methods (enactive ethnography, participant observation, online survey and social media analysis), this article aims at evidencing the role of apparel and gear in some processes engendering a transformation of the two practices. We investigate the making of boundaries – internal and external to the practices – that furnish ways of belonging to practitioners, focusing on how the processes of sportification and commodification are involved in these different ways of belongingness. We link these general processes to their connections with clothing, accessories and their material and symbolic use, showing how informational capital is at stake in this.

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FERMINO, J., L. R. da CUNHA, and R. C. G. S. LIMA. "COMMUNITY ODONTOLOGY AND FAMILY HEALTH STRATEGY IN DISCUSSION." International Journal for Innovation Education and Research 7, no. 8 (August 31, 2019): 319–31. http://dx.doi.org/10.31686/ijier.vol7.iss8.1682.

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This article discusses the way how members of a family, living in a socially vulnerable community, perceive their own health and the community dental practices performed by the Family Health Strategy. The context of the study is the axis on the condition of life of the care model, as recommended by the National Policy of Buccal Health that foresees the approach of the population from their familiar universe and from the social relations experienced in the territory. It is a social study of qualitative, exploratory and descriptive approach carried out in a municipality of Santa Catarina by means of collective interview and adjusted thematic analysis. By means of the category “Bonds in a community cultural reality”, the data analysis revealed that both health and community dental practices are perceived through relations that express the subalternity, the intersubjectivity, the willingness to work, the bond with the evangelical church, life through arts, and sexual violence. The conclusion drawn is that materialization of the model of care, through the axis life conditions of the communities, requires the problematization of professional certainties generated by the hegemonic production of a technical scientism detached from the real life of vulnerable families.

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Srimulyani, Eka. "Islam, Adat, and the State: Matrifocality in Aceh Revisited." Al-Jami'ah: Journal of Islamic Studies 48, no. 2 (December 18, 2010): 321–42. http://dx.doi.org/10.14421/ajis.2010.482.321-342.

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Matrifocality has been a rooted tradition in the social history of the community in Aceh. The principles of matrifocality have also affected on how women are positioned in the community, and the socio-gender relation within the community. The fact that Aceh has strongly associated to the Islamic values that claimed to support the paternal traditions. Apparently, the Islamic values and the local matrifocality practices juxtaposed through the roles of adat, which considered as inseparable to Islamic law or teaching, or in local term known as zat ngeun sifeut. Another point in revisiting matrifocality in Aceh in Aceh is an examination of how gender state ideology, particularly during the New Order Regime disregarded some local gender practices across some ethnics in the archipelago. Meanwhile, the state also hegemonied and promoted particular gender state ideology such as state ibuism. Nonetheless, the modernity and social changes have also contributed to the shifting of some matrifocality practices in contemporary Acehnese society. However, since the matrifocality has a strong root in the social life of the community, the principles of the matrifocality still survived until currently, although it transformed into ‘new matrifocality’ practices.

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Henderson, Julia, Colleen Reid, Bruce Devereux, Chad Hershler, and Sadie Watt. "Performing the Lived Experience of Dementia: Revealing Humanity through Evidence-Based Collaborative Creation." Canadian Theatre Review 190 (April 1, 2022): 53–59. http://dx.doi.org/10.3138/ctr.190.012.

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Raising the Curtain on the Lived Experience of Dementia (RTC) is a five-year collaboration between education, arts, and health care that uses community-based, arts-engaged, participatory research approaches, including theatre, to work with participants with the lived experience of dementia. This article is based on interviews with the three project leads as well as one project participant, and details RTC’s key elements of creative practice, its core values that influence collaborative creation processes, and the ways RTC differs from common models of working with people living with dementia. Examples of the project’s theatre and performance activities and practices are woven throughout.

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Jeffery, Laura, Mariangela Palladino, Rebecca Rotter, and Agnes Woolley. "Creative engagement with migration." Crossings: Journal of Migration & Culture 10, no. 1 (April 1, 2019): 3–17. http://dx.doi.org/10.1386/cjmc.10.1.3_1.

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This article introduces a special issue on arts-based engagement with migration, comprising articles, reflections, poems and images. The introductory article starts by exploring the ethical, political and empirical reasons for the increased use of arts-based methods in humanities and social sciences research in general, and in migration studies in particular. Next, it evaluates participatory methods, co-production and co-authorship as increasingly well-established practices across academia, the arts, activism and community work. It then considers how the outputs of such processes can be deployed to challenge dominant representations of migration and migrants. The authors reflect critically upon arts-based methodological practices and on the (limits to the) transformative potentials of using arts-based methods to engage creatively with migration. Sounding a cautionary note, they concede that even collaborative artistic expressions have limits in overcoming unequal power dynamics, conveying experiences of migration and effecting long-term change in a context in which discourse on migration is dominated by short-term political decision-making, and punitive policies force migrants into precarious forms of existence. While the prospect of influencing the political sphere might seem remote, they advocate for the role and power of the arts in instigating, shaping and leading change by inspiring people’s conscience and civic responsibility.

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Human, Helen. "Democratising world heritage: The policies and practices of community involvement in Turkey." Journal of Social Archaeology 15, no. 2 (February 4, 2015): 160–83. http://dx.doi.org/10.1177/1469605314566557.

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Erol, Ayhan. "Identity, Migration and Transnationalism: Expressive Cultural Practices of the Toronto Alevi Community." Journal of Ethnic and Migration Studies 38, no. 5 (May 2012): 833–49. http://dx.doi.org/10.1080/1369183x.2012.668025.

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Walker, Amelia. "REVIEW OF CHANDAN BOSE'S PERSPECTIVES ON WORK, HOME, AND IDENTITY FROM ARTISANS IN TELANGANA." Art/Research International: A Transdisciplinary Journal 5, no. 2 (October 1, 2020): 553–61. http://dx.doi.org/10.18432/ari29537.

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This review considers Chandan Bose’s ethnographic study into arts and crafts practices in Telangana, India. Merits of the book include Bose’s nuanced interrogation of ethical complexities in and around ethnographic work, a centring of artisans’ voices through direct quotes, and an emphasis on knowledge as something crucially formed in and through subjective inter-relational connections. Bose draws links between practices of ethnography, art and storytelling. Broaching the book as a collaboration with rather than a study of the artisan community, Bose offers ways of re-seeing research, knowledge, and cultural engagement that will hold relevance across a wide range of fields and practices in and beyond contemporary academies.

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Ken, Tjunkaya. "Bringing narrative practices to work with Anangu people." International Journal of Narrative Therapy and Community Work 2022, no. 2 (July 1, 2022): 18–24. http://dx.doi.org/10.4320/ulhf5982.

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This paper reflects on a conversation between narrative practice and Anangu (Pitjantjatjara and Yankunytjatjara people) culture, specifically with Anangu women from the Ernabella community. The focus is on amplifying the voices and perspectives of Anangu in relation to the effects of Western therapeutic practices, including narrative therapy. The Tree of Life metaphor was introduced to a group of Elders living on Country. These senior women provided insights into cultural resonances and adaptations that could be applied when working with Anangu to ensure the Tree of Life process aligns with Anangu cultural values and beliefs. To help piranpa (non-Aboriginal) practitioners better understand Anangu, the paper introduces the key cultural concepts of Tjukurpa and connection to Country, and outlines the effects of colonisation on Anangu. It also introduces the Anangu arts of kulini (listening, reflecting and sensing with the body) and milpatjunanyi (storytelling in the sand).

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