This document discusses the intersection of applied arts and social justice. It provides examples of how the arts can be used to empower voices, promote social justice principles, and enact change. The arts are shown to have therapeutic benefits for clients and communities and can be leveraged for social change through mediums like photography, theater, film and street art. The document also highlights examples of arts-based social justice programs and events at a university.
Dr Dominic Hingorani from the University of East London explores the genesis and methodology behind the production of 'Guantanamo Boy', a stage adaptation of the critically acclaimed novel by Anna Perera and the ways in which it draws on and shares some of the artistic and pedagogical concerns of Half Moon when making work for teenage audiences.
Dr Dominic Hingorani from the University of East London explores the genesis and methodology behind the production of 'Guantanamo Boy', a stage adaptation of the critically acclaimed novel by Anna Perera and the ways in which it draws on and shares some of the artistic and pedagogical concerns of Half Moon when making work for teenage audiences.
This ppt is a part of an assignment done at The Assam Kaziranga University in Jorhat. Human Behavior in Organizations is the subject dealing with this topic.
Does art matter? What can you do about it?David Richmond
A personal view of the role of arts in development in the UK as presented to the University of West of England Post Graduate Certificate in Participatory Practice in Arts and Media
This ppt is a part of an assignment done at The Assam Kaziranga University in Jorhat. Human Behavior in Organizations is the subject dealing with this topic.
Does art matter? What can you do about it?David Richmond
A personal view of the role of arts in development in the UK as presented to the University of West of England Post Graduate Certificate in Participatory Practice in Arts and Media
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Academic Essay Writers. A Detailed Guide on How to Write the Best Essay Urge...Michelle Kennelty
7 Qualities of a Professional Essay Writer - Essay writing. Main Characteristics Of A Pro Essay Writer. Academic Essay Examples - 18+ in PDF | Examples.
Program magazine TEDxAmsterdam 2014
Dear TEDxAmsterdam Community, HERE WE ARE AGAIN SOMEWHERE IN TIME RIGHT HERE, RIGHT NOW. TOGETHER FOR THE SIXTH ANNUAL TEDxAMSTERDAM EVENT.
TEDxAmsterdam is made possible by an endless list of volunteers:
Ad Maas, Adriaan Schiphorst, Ailin Haijer, Albertine Piels, Alex Bennett Grant, Alina Musayeva, Amanda Rijff, Ambar Surastri, Amelie Güntner, Andrea Van Den Bos, Andrew Croasdale, Anita Mooiweer, Anne Cramwinckel, Anneloes Krist, Anouk Dingelstad, Asha Lalai, Ayla Breij, Barbara Austin, Barney Hobson, Bart Gramberg, Bart Heemskerk, Bart Febere, Bas Beukers, Bas Berensen, Bas Uterwijk, Bas de Boer, Ben Wolters, Berry Helsloot, Bert Hana, Bibi Veth, Bonne Postma, Bow Evers, Bram Pauwels, Bram Dingemans, Brammert Ottens, Brandon O’Dell, Brenda Smeenge, C. den Boer, Carolien de Bont, Carolien Vader, Caroline Baas, Charlotte Schok- king, Christian Peper, Coen Rispens, Dadara, Dagan Cohen, Daphne van Berkel, Daphne van Schaijk, Daria Cohen, Dašo Benko, David Beck- ett, David Tyler, Deborah Bronsveld, Denis Chernov, Dennis Hoogeveen, Diana van Houwelingen, DJ 100% Isis, E. Zwirs, E. Smit, Ed Res, Eddy Slack, Elise Fikse, Elmer Oomes, Elmer Driessen, Elza Kui- pers, Emile Hoens, Emilia Heijmans, Emma Veerhu- is, Erik Bronsvoort, Erik Meijer, Esther Efrahim, Eva Annokkee, Eva Lange, Eva van Drumpt, Eveline Deun, Eveline de Heij, Ev- elyne Grunau, F. Lekens, Faye Feller, Femke Lans, Femke Wessel, Florian Hessel, Florien Benninga, Francesco Grassotti, Friso van de Meij, Gaia Reyes, Geerteke van Lierop,
Gerben Engelkes, Gerben Hettinga, Gerdinand Wagenaar, Gervaise Coe- bergh, Gian van Grunsven, Gijs Deter-meijer,
Gijs Kampmeinert, Gijsbert Raadgever, Gracia Edwards, Guido Hogen- boom, Guus Albregts, Hans Janssen, Helen Tes- sema, Henk Blom, Henri Smeets, Huib Hudig, Ijoya van Gemert, Irene Rompa, Iris van Dijken, Ivo Berg, Jakub Dziuba, Jan Scheele, Jan Miltenburg, Jan Git- sels, Jan Albert Jager, Jane Gilbert, Janne Polman, Janneke de Vries, Jantien de Bood, Jasha Jana van der Wel, Jason Malone, Jasper de Valk, Jasper Ester, Jeffrey Slaa, Jelena Obradov, Jennifer Johanna Drouin, Jeroen Bosman, Jeroen Blom, Jessica Perri, Jim Stolze, Jitze Jaap, Job Woudstra, Joe Fleming, Johan Idema, Johan Ong, Johan Dijkstra, Jonathan Scheper, Joni Bais, Joost Hoozemans, Joost Brille- mans, Joost Vriend, Julia Kuin, Juliana Gyasi, Julie Blik, Kaz Salemink, Kees Kraakman, Kelsey Obdeijn, Kevin van der Burg, Kimia Farshidzad, Kiona Malinka, Koen Hilberdink, Laura Peters, Laurens Pels, Lennart Vader, Lennert Hunfeld, Leo van der Zijden, Lesley Langelaar-Thomas, Levi Verspeek, Lex Wenneker, Lilla Farkas, Linda Stolp, Lisa Snoek, Lisanne Buik, Lissa Zeviar, Liv-Eva Veenman, Lodewijk Kleijn , Lonneke Marsmans, Lou-Lou van Staaveren and so many more...
Conscious Instruction: Awareness, Restoration & Growth in Knowledge Transfer(FMI email CECE@UNE.EDU)
Global Forum on Innovation in Health Professions Education
The National Academy of Sciences, Engineering, and Medicine
To view the case study: https://youtu.be/mVjii51ODzk
Shelley Cohen Konrad, Ph.D., L.C.S.W., F.N.A.P.
Director, School of Social Work Director, Center for Excellence in Collaborative Education Professor, School of Social Work
Karen T. Pardue, Ph.D., M.S., RN, CNE, ANEF
Dean, Westbrook College of Health Professions Professor, School of Nursing and Population Health Interim Director, Nutrition
Chat Moderator
Kris Hall, MFA
Program Manager, Center for Excellence in Collaborative Education
August 2020
This presentation addresses Step 3: "Train New Recruits & Current Faculty to be Effective Educators"
SBIRT is an evidence based approach to the delivery of early intervention and treatment to people with substance use disorders and those at risk of developing these disorders. Collaborative SBIRT Training for Maine’s Future Health Profession Leaders is a three-year grant totaling $870,000 from the U.S. Department of Health and Human Services’ Substance Abuse and Mental Health Services Administration (SAMHSA). The first of its kind to be awarded in Maine, this grant utilizes an interprofessional approach to the development and implementation of training programs to teach UNE students across 8 health professions the skills necessary to provide evidence-based Screening and Brief Intervention as well as Referral to Treatment for patients who are at risk for a substance use disorder (SUD). Additionally, the training will develop the leadership skills needed in order to champion the implementation of SBIRT throughout our healthcare system with the ultimate goal of helping clients avoid substance use disorders.
This presentation deals with SBIRT and Social Work in particular.
Presentation of our curricular integration, Interprofessional approaches and Student Leader Training strategies in the second year of our 3 year SBIRT Training Grant.
The Interprofessional Team Immersion (IPTI) offers students across 13 health professions opportunities to apply their skills in cross-professional communication, teamness, and patient-centered engagement. The experience is characterized by high stakes cases carefully designed to cultivate an atmosphere conducive to rapid teambuilding and compassionate patient care. Within a safe learning environment, faculty and students acquire understanding of roles and responsibilities as well as skills to manage complex cases. This presentation will describe and demonstrate the rationale, design, and implementation of IPTI over a three-year period. Findings suggest significant increase in IPTI students’ perceptions of cooperation, resource sharing and communication skills for team-based practice. Programmatic evaluation substantiates the value students place on practicing interprofessional clinical skills before and while in their clinical-community rotations. Debriefing sessions with standardized patients enhanced students’ knowledge and appreciation for patient engagement and shared decision-making culminating for some in scholarly products. In total, findings provide beneficial insight for other interprofessional educational and collaborative practice initiatives taking place at the University and in the community. Learn more about IPEC at University of New England ipec(at)une(dot)edu or follow us on Twitter @UNEIPE
Interprofessional Collaborative Practice Education: Values, Communication & Tools
Presented by Shelley Cohen Konrad & Jennifer Morton
University of New England
Maine Family Medicine
We are orienting newly matriculated PT, MSW, Pharm, Dental, Dental Hygiene, and Nursing students to IPE Competencies, and the opportunities available to them here at UNE.
Interprofessional Student-Led Mini-Grants: We fund the IPE curious!
(This talk was developed for a 20 minute oral presentation at All Together Better Health, June 5-8, 2014 in Pittsburgh PA.)
Background: Our goal is to develop collaboration-ready health professionals who have practiced successful teamwork, leadership and hands-on problem solving as part of their education. To that end, we have established a Student-Led Mini-Grant program. These grants fund interprofessional scholarship and research conceived and carried out by students with faculty mentorship.
Presentation Objectives:
1. Provide easily replicated template for application and funding formula
2. Demonstrate examples of successful grants
Methods: The presenter will provide the application and marketing materials to enable other institutions to develop their own Student-Led Mini-Grant program. Successful grants are widely varied in their approach and outcomes, presenters will discuss the challenges and opportunities that a small investment in IPE interest generated.
Results: Knowledge gained from the projects completed so far has led students and faculty to consider varied approaches to IP education and practice. Whether interviewing pain patients with an eye toward utilizing the power of their stories to help others, or providing physical therapy intervention at a Medically Oriented Gym for diabetes patients, students, faculty and clients are actively learning with, from, and about each other.
Implications: Small-scale, hands-on experiences such as these help to create an IP leadership ethic among students that they will carry with them in addition to expertise in their field, making them dynamic members of their future teams. The discipline and organization necessary to apply for and execute a grant, the reassurance of faculty mentorship while providing a valuable community service are a powerful educational combination.
-Kris Hall is the Program Coordinator for the University of New England Center of Excellence in Interprofessional Education. She oversees the weekly IPE event series on campus, and the Student-Led Mini-Grant program. Kris is an MFA graduate of Maine College of Art and the Skowhegan School of Painting and Sculpture. She brings over 20 years of intensive teamwork in higher education and professional theatre to her work at the Center.
This presentation will emphasize the intersection between art and health, using the Photovoice project to reflect how art can be a modality for assessing barriers to health, health education, and empowering community members to advocate for health promotion. After receiving a small grant, a Master of Social Work student, Master of Public Health Student, a Somali interpreter, and a community health center came together to realize this alternative means of health literacy across the realms of art, social justice, interprofessional education and cultural competency.
University of New England's Center for Excellence in Interprofessional Education Director Shelley Cohen Konrad presents at the annual meeting of The Council on Social Work Education (CSWE), a nonprofit national association representing more than 2,500 individual members, as well as graduate and undergraduate programs of professional social work education.
This collaborative presentation is the work of
Barbara L. Jones, PhD, MSW, University of Texas at Austin
Shelley Cohen Konrad, PhD, LCSW, University of New England
Jayashree Nimmagadda, Ph.D., MSW., LICSW, Rhode Island College
Maureen Rubin, Ph.D., MSW, MA, University of Nevada, Reno
Anna M. Scheyett, PhD, MSW, LCSW, University of South Carolina
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Applied Arts and Social Justice (Social Work Ethics Conference)
1. Applied Arts and Social Justice:
Empowering Voices, Empowering Choices
Artist: Martha Baum
2. Social justice is a
Primary social work ethic
That views everyone as deserving of equal
economic, political and social rights and
opportunities and charges social workers to
engage in acts of advocacy no matter the
setting of their practice.
3. The Encounter
I believe today I almost
met someone. For just a
few moments, possibly,
the whirring edge of me
disturbed some surface
of attention.
Perhaps in time I’ll risk
being still enough
actually to meet a whole
person. I wonder would
either of us survive the
awe and enormity of
true encounter.
~From “Loitering”
by Rogan Wolf
4. Social Justice and Health as a Human Right:
The application of core principles advocating for
the right of every person, regardless of
circumstance, to receive the best possible health
care integrated with contemporary science and
delivered respectfully, without bias or judgment.
http://reginaholliday.blogspot.com/2011/04/walking-gallery.html
5. Applied Arts and Social Justice
Preparing students to disrupt injustice
through the arts to change the world
6. “Healing Art is being born as we speak. The concept is
catching fire, is awakening in people’s spirit. Artists,
musicians and dancers are realizing their imagery has
meaning, that their imagery heals them, others, their
neighborhood, or the earth.”
~Michael Samuels
7. “Art is a wound turned into
light.”
~Georges Braque
8. “The creative is the place where no one
else has ever been. You have to leave
the city of your comfort and go into the
wilderness of your intuition.
What you’ll
discover will
be wonderful.
What you’ll
discover is
yourself.”
~Alan Alda
9. Arts with Clients
Expressive Arts:
•Music therapy
•Movement/Dance therapy
•Art therapy
•Psychodrama
•Writing/narrative therapy
10. Arts for Social Change
• Photography
• Theater and Performance
• Film and Documentaries
• Flashmobs
• Street art
• Poetry slams
• and many, many more . . .
11. What’s Happening at UNE
Creating
with
Children
at
America’s
Camp
The Four
Elements
of Joy
Storytelling Night
Music
Therapy:
The Meeting
of Art and
Science
The Ongoing Scars of Slavery
Artists’ Rapid
Response Team
Image from http://www.healthyfellow.com/448/music-therapy/
These are disciplines that have established and educated practitioners with professional certifications. All of these techniques can be and are used by social workers and are part of their tool set, even if they do not hold professional certification in these fields. AASJ is not expressive arts program,
And that’s just this semester!
Images used with permission of the artists for promotional purposes for UNE Applied Arts and Social Justice Certificate Program
Use part of Kris’ MFA Thesis – History of Theatre as intervention
Theatre of the Oppressed: using theatre in a political context, as a tool for understanding, education, and development. Boal’s techniques are also used in therapeutic settings to enhance personal and group development.
Three Boal Techniques (PHOTO: http://boalworkshop2008.blogspot.com/2008/06/three-boal-techniques.html)
INVISIBLE THEATRE is a technique of rehearsing a scene with actions that the protagonist would like to try out in real life. This is done in a place where these events could really happen and in front of an audience who, unaware that they are an audience, accordingly act as if the improvised scene was real. Thus, the improvised scene becomes reality. Fiction penetrates reality. What the protagonist had rehearsed as a plan, a blueprint, now becomes an act.
IMAGE THEATRE consists of creating short scenes, no longer than a minute or two, with a strong image that the entire audience can easily understand, identify, and apply to their own lives. Images can be realistic, allegorical, surrealistic, symbolic or metaphorical. The only thing that matters is that it is true; that it is felt as true by the protagonist. Images tell the story in a condensed, outline form using pictures with very little or no talking. The audience is pulled in immediately because they know exactly what is being said. Movement, music, and ensemble are used to heighten the impact.
FORUM THEATRE is a type of theatrical game where a problem is shown in an unresolved form. The audience is invited to suggest and enact solutions. The scenario is then repeated, allowing the audience to offer alternative solutions. The game is a contest between the audience and actors trying to bring the play (or oppression) to a different end. The result is a pooling of knowledge, tactics and experiences. As the audience participates in enacting solutions to break the cycle of oppression they are also “rehearsing for life.”
PHAMALY Theatre Company: Formerly the Physically Handicapped Actors & Musical Artists League produces professional scale plays and musicals year-round throughout the Denver Metro region, cast entirely of performers with disabilities across the spectrum (physical, cognitive, emotional, blindness, deafness…etc.)…performers with all kinds of physical problems, some more visible than others. There are actors in wheelchairs, actors who limp, actors suffering invisible problems and diseases. PHAMALY seeks not just to overcome physical problems, but how to make creative use of them so that they become a vital part of what he and his company want to communicate…wants audiences to "re-envision disability." Notlooking for pity, but it does require understanding — and part of that understanding is knowing that disabled people aren't "other.” Tomorrow they may face the customary daily difficulties of breathing, moving, thinking or simply getting by — but for tonight, they've transcended all that — and the transcendence is, in some ways, eternal. It will linger for all of us.
PHOTO: http://www.phamaly.org/#!news/nws5/CBA36A79-4F57-4CC6-B6AE-7F545456703C/theatre-review%3A-%E2%80%98joseph-and-the-amazing-technicolor-dreamcoat%E2%80%99-at-phamaly-theatre-company-in-denver-colorado
July 13, 2014
“This time last year was my first time being in the audience for a show which featured disabled actors doing a well-established piece of theatre, and I remember how great, and—dare I say it?—normal it made me feel to see talented people with disabilities bring the house down with their performances.
Cut to tonight, which is opening night for Joseph and the Amazing Technicolor Dreamcoat, and it’s a surreal feeling to come back to the Space, not as a spectator, but as a participant, acting in a show with these people I mentioned above who gave me that feeling of normalcy during a show for the first time. It is an extraordinary thing to find a theatre group who will look at your scooter, your bum hand and your spastic legs and say, “Join us! We want you!” I am honored to be a part of this show, and I am humbled that I am able to count myself in your ranks. What we’re doing is such important work.” ~Stewart B. Caswell
Wouldn’t you like to focus less on THE PROBLEMS of LGBTQ youth, and more of THE STRENGTHS? If you look at what the Search Institute has researched and published about this very thing in their 40 Developmental Assets for Adolescents, Intervention and support services are important for survival; having what you need to thrive is strength-based.
Cathy Plourde, formerly of Add Verb productions has developed tools for combining intervention, support, and the many strengths of LGBTQ youth. Out & Allied Anthology Vol 1 (2011) and Vol 2 (2014) features royalty free plays, monologues spoken word, and music written by, with or for youth activism. Vol 1 includes a handbook with guidelines and suggestions for using theater for social change, in addition to a glossary of LGBTQ terms courtesy of GLSEN (Gay, Lesbian and Straight Education Network). Vol 2 highlights dialogue and youth leadership in faith-based communities. These books are designed to be used as a resource for staging performances and bringing to light the stories of LGBTQ youth.
SCARY STATISTICS
The development of the Out & Allied books was primarily youth driven, (KRIS SCRATCHES HER HEAD – IS INTERRUPTED BY THEATRE) from the development of the pieces, to peer editing, to producing performances, to completing the book.
IMAGES are Book Covers, used with permission of Cathy Plourde.