Columbia College Chicago 4.29.19
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The document discusses using dance and somatic practices to promote social justice and reduce prejudice. It outlines several theories that support this approach, including emphasizing proximity and rewriting narratives to change perspectives. The goal is for social interventions to become integrated into local communities through respectful, reciprocal partnerships rather than one-time initiatives or being led by outsider experts. Potential outcomes include increased empathy, trust, and place-making through intergroup interaction. The document raises questions about distinguishing between social intervention and interference, and how to remain actively engaged in social issues within one's own neighborhood.
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- 1. THE QUESTIONS OF SOCIAL PRACTICE SHAWN LENT DANCE CENTER OF COLUMBIA COLLEGE CHICAGO – APRIL29, 2019
- 2. IN THE BODY Charity Outreach Giving Back Engagement Partnership Reciprocal Citizenship
- 3. AS YOU EXPERIENCE… What do you notice? What surprises you? What is critical to success? What are the challenges? What questions come to mind?
- 16. THE PRACTICE Relevant, Responsive and Reciprocal | Often intergroup projects Social Intervention vs Social Interference: context-specific, short-term initiatives that become integrated into the local ecology, and not reliant on one person or program → lasting impact. Aware of environment, tensions and privilege; respectful of history and customs; resonating with population, place and time; working as a partner rather than expert; and starting with hosts’ vision, values/assets, needs/wants, and threats/fears.
- 17. OUTCOMES Reduction of prejudice and defensiveness | Kinetic Empathy Spontaneity | Release of inhibition Somatic awareness | Dance technique and cultural knowledge Sense of security | Trust of oneself and others Joy, humor, and confidence Place-making and place-sharing | Intergroup interaction
- 18. THEORY BEHIND THIS PRACTICE Bryan Stevenson’s Change Theory Proximity Rewrite the Narrative Hope Discomfort - the right to feel fear and vulnerability (Csikszentmihalyi’s Flow Theory) Bryan Stevenson
- 19. THEORY BEHIND THIS PRACTICE Philosopher Richard Shusterman: somaesthetics provides a new matrix for a positive body consciousness and an “essential element in the philosophy of nonviolence and the quest for less violence against bodies.” (Fitz-Gibbon, 2012) Phenomenologist Maurice Merleau-Ponty: “The body is not only the crucial source of all perception and action but also the core of our expressive capability and thus the ground of all language and meaning.” (Merleau-Ponty, 1962) Richard Shusterman
- 20. THEORY BEHIND THIS PRACTICE Address all types of conflict: Violence Triangle Theory (Galtung) 1. Direct 2. Structural 3. Cultural
- 21. DANCE AS A HUMAN RIGHT Cultural/Artistic Rights as Human Rights (UDHR Article 27) Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author.
- 22. Q’S FOR CONVERSATION What’s the difference between social intervention and social interference? How can our work perpetuate re-victimization? What’s happening in your neighborhood? When are you a student outside of this degree program? How can we approach things differently than trying to get “buy in”? In this work, when do we step up? When do we step back? What are ways to remain an active resident?
- 23. RESOURCES ShawnLent.com ClydeFitchReport.com Arts + Social Impact Explorer by Americans for the Arts NEA’s white paper and webinars on Social Impact Design Mapping Art Projects with Societal Impact (MAPSI) United States Department of Arts and Culture
- 24. Q&A | FINAL THOUGHTS
Editor's Notes
- Shawn starts with 5 minutes of a story from the ground.
- Shawn starts with 5 minutes of a story from the ground.