Presentation for International Perspectives on Participation and Engagement in the Arts conference, University of Utrecht, June 2014. Some perspectives and issues arising from the AHRC-funded Connected Communities pilot demonstrator project, Remaking Society. For more details visit http://remaking society.ageofwe.org
UEP's Manchester-Salford case study informs Abi Gilmore's reflections on methods. In particular, Abi offers an account of a complex participatory project in Cheetham Park, Manchester which was a collaboration between the Manchester Jewish Museum, an artist-in-residence, University researchers, and participants from local community and stakeholder groups.
Susan Oman presents paradata from her nationwide focus groups on well-being. These data suggest that everyday conversations offer the same well-being effects as more formal participation methods, and by extension indicate that research and evaluations which assume the social effects of certain forms of cultural participation are currently overreaching in their claims.
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
UEP's Manchester-Salford case study informs Abi Gilmore's reflections on methods. In particular, Abi offers an account of a complex participatory project in Cheetham Park, Manchester which was a collaboration between the Manchester Jewish Museum, an artist-in-residence, University researchers, and participants from local community and stakeholder groups.
Susan Oman presents paradata from her nationwide focus groups on well-being. These data suggest that everyday conversations offer the same well-being effects as more formal participation methods, and by extension indicate that research and evaluations which assume the social effects of certain forms of cultural participation are currently overreaching in their claims.
One day seminar with artists from Cork City given by Cliodhna Shaffrey and Sarah Searson at the National Sculpture Factory Cork and supported by the Visual Artists Ireland, full days presentation material
Anne Markusen - How Do We Know Creative Placemaking is Working?Place Maker
Ann Markusen is Director of the Arts Economy Initiative and the Project on Regional and Industrial Economics at the University of Minnesota’s Humphrey School of Public Affairs, and Principal of Markusen Economic Research. She is a researcher, frequent public speaker, and advisor to public agencies, policymakers, businesses, economic developers, and nonprofit organizations across the US, in Europe, Japan, Korea, Australia and Brazil. Her expertise is in economic development at the state and local level, where she brings analytical skills to bear on the ways that industries and occupations shape possibilities for creating good work. Markusen is currently serving as research and writing consultant for the Minnesota House of Representatives’ Select Committee on Living Wage Jobs.
Markusen’s research and policy work has also been directly toward pressing economic development issues at national and local scales, including business tax incentives (Reining in the Competition for Capital, 2007), minimum wage legislation, military industrial conversion (Arming the Future: a Defense Industry for the 20th Century, 1999; Dismantling the Cold War Economy, 1992; The Rise of the Gunbelt, 1991) high tech job growth (High Tech America 1985), energy boomtowns, and state/local public finance. Over the years, her op eds have been published in the New York Times, Los Angeles Times, Chicago Tribune, Christian Science Monitor and many regional dallies, and she has been a frequent radio and television commentator.
Lecture given at AUK department of Social and Behavioral Sciences - The French School - Part 2. Dynamic Anthropology, Balandier and the colonial situation
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
Public Art as a Driver of Urban Transformation in Douala in Re-Imagining the ...Iolanda Pensa
Public Art as a Driver of Urban Transformation in Douala.
in Re-Imagining the African City: The Arts and Urban Politics. Workshop Basel, 11/03/2016.
Iolanda Pensa, Marilyn Douala Bell and Marta Pucciarelli, SUPSI and doual’art.
Muhammad Saud Kharal
PhD in Social Science,
Department of Sociology Faculty of Social and Political Sciences, Universitas Airlangga, Surabaya Indonesia
Anne Markusen - How Do We Know Creative Placemaking is Working?Place Maker
Ann Markusen is Director of the Arts Economy Initiative and the Project on Regional and Industrial Economics at the University of Minnesota’s Humphrey School of Public Affairs, and Principal of Markusen Economic Research. She is a researcher, frequent public speaker, and advisor to public agencies, policymakers, businesses, economic developers, and nonprofit organizations across the US, in Europe, Japan, Korea, Australia and Brazil. Her expertise is in economic development at the state and local level, where she brings analytical skills to bear on the ways that industries and occupations shape possibilities for creating good work. Markusen is currently serving as research and writing consultant for the Minnesota House of Representatives’ Select Committee on Living Wage Jobs.
Markusen’s research and policy work has also been directly toward pressing economic development issues at national and local scales, including business tax incentives (Reining in the Competition for Capital, 2007), minimum wage legislation, military industrial conversion (Arming the Future: a Defense Industry for the 20th Century, 1999; Dismantling the Cold War Economy, 1992; The Rise of the Gunbelt, 1991) high tech job growth (High Tech America 1985), energy boomtowns, and state/local public finance. Over the years, her op eds have been published in the New York Times, Los Angeles Times, Chicago Tribune, Christian Science Monitor and many regional dallies, and she has been a frequent radio and television commentator.
Lecture given at AUK department of Social and Behavioral Sciences - The French School - Part 2. Dynamic Anthropology, Balandier and the colonial situation
Presentatie van Elizabeth Currid bij Creative Cities Amsterdam Area (CCAA). Haar boek The Warhol Economy omvat een onderzoek naar de schijnbaar toevallige samenloop van omstandigheden in de creatieve industrie in New York die tot briljante samenwerking leidde (zoals Stephen Sprouse voor Louis Vuitton).
Public Art as a Driver of Urban Transformation in Douala in Re-Imagining the ...Iolanda Pensa
Public Art as a Driver of Urban Transformation in Douala.
in Re-Imagining the African City: The Arts and Urban Politics. Workshop Basel, 11/03/2016.
Iolanda Pensa, Marilyn Douala Bell and Marta Pucciarelli, SUPSI and doual’art.
Muhammad Saud Kharal
PhD in Social Science,
Department of Sociology Faculty of Social and Political Sciences, Universitas Airlangga, Surabaya Indonesia
This is the presentation that Elmarie Costandius gave at the SOTL@UJ: Towards a socially just pedagogy seminar series on the Graphic arts and social justice
Time in place: New genre public art a decade latercharlesrobb
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Cathy Fitzgerald discusses her recent doctoral creative practice-led art research for developing a guiding theory-method framework to signicantly improve the articulation and recognition of valualble long tern ecological art practice.
This presentation was created for Feeding the Insatiable: A Creative Summit, Dartington Hall, Totnes, Devon, England. 9-11 November 2016.
This presentation was developed for a guest lecture at QUT in April 2009 for a subject about cultural futures. It asks the question, 'how are we to live?' and considers urban innovation and creativity. However, it does not really attempt to answer that question.
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How museums can engage their audiences and work together with them on Sustainable Development Goals, based on their core Values and storytelling, by using the GIVE-model
Dr. Sara Diamond, President and Vice-Chancellor OCAD University. This talk will provide a case study of a six year path of change and adaptation on the part of Ontario College of Art & Design (OCAD) University – a 135 year old institution. OCAD University is located in Toronto, the largest city in Canada in the downtown core, adjacent to the Art Gallery of Ontario.
Slides used to introduce the discussion at the Dangerous Ground event in Edinburgh, June 2013. More info here: http://culturalvalueinitiative.org/dangerous-ground-project/edinburgh-event-28th-june-2013/
What arts-based methods can and cannot do: presentation for UWS Protracted Crisis Research Centre/Global Refugee Health Network Conference, 6th Dec 2023
Here's the presentation that the Compound 13 Lab team gave at the Ashank Desai Policy Center at IIT Bombay on the 28th of September 2022. It covers various aspects of our work in Dharavi and includes an overview of the way in which the informal plastic waste industry is organised in the Greater Mumbai region.
Presentation for postgraduate students and early career researchers at the University of the West of Scotland about the 'impact agenda': problems, issues and opportunities
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a quick, rough,and semi-historical overview of the relationship between academic research/theory and the development of concepts of creative/cultural industry. Lecture for MA Music, Innovation and Entrepreneurship students at the University of the West of Scotland.
Reinventing higher education for a networked ageGraham Jeffery
Presentation for the UWS learning and teaching conference given on 23rd June 2011. For some notes and thoughts as a follow up to this, please visit http://generalpraxis.blogspot.com
Presentation by UWS doctoral researcher Ben Parry for the UWS Creative Practice/Research group seminar: 3 x 3 x 3, 23rd May 2011 For more information visit http://uwspracticeresearch.blogspot.com
Spaces of encounter: artists, conversations and meaning-makingGraham Jeffery
Keynote presentation for North East Scotland Visual Arts Research Network: summer school for doctoral researchers at Grays School of Art, August 2010. Exploring issues of conversation, collaboration and learning in artistic projects/interventions.
Introductory presentation for MashingUp:Practice+Research symposium at CCA Glasgow, 19th May 2010. Part of a series of public events from the University of the West of Scotland's School of Creative and Cultural Industries. For more info visit http://uwspracticeresearch.blogspot.com
Introduction to some of the issues raised by the rhetorics of collaboration in the creative industries. This was prepared for the first session of a new module on collaborative practices for MA Creative Media Practice students at the University of the West of Scotland.
Teaching in the arts through partnerships and collaboration: constructive ten...Graham Jeffery
Slides from a seminar given at the School of Education, University of Exeter, October 2008. Exploring the issues in developing and sustaining artist-teacher partnerships.
Teacher Artist Partnership Programme: international seminar introduction, 28t...Graham Jeffery
Introduction to the UK context for creative and cultural partnership, for an international seminar in London as part of the Teacher-Artist Partnership programme (www.tapprogramme.org)
Presentation for UK Creative Partnerships professional learning network, March 2009 by Graham Jeffery and Anna Ledgard - context and history of the Teacher Artist Partnership Programme
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.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
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Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
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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
How libraries can support authors with open access requirements for UKRI fund...
Remaking Society
1. Remaking Society: realising the potential of cultural
activities in contexts of deprivation
An AHRC Connected Communities ‘pilot
demonstrator’ project
Kerrie Schaefer
University of Exeter
Graham Jeffery
University of the West of Scotland
www.twitter.com/RemakingSociety
remakingsociety.ageofwe.org
2. Remaking Society: Critical Framework
• The project aimed to understand ‘community
arts’ practices beyond dominant discourses, at
least in a cultural policy context, of ‘culture-
led regeneration’ (e.g. Vickery 2007) and
functionally-driven debates about the ‘social
impact of the arts’ (e.g. Matarasso 1997,
Belfiore and Bennett 2008).
3. Long history of community arts …
In 1984, Owen Kelly, one of the founding advocates
for the community arts movement, argued that the
strategic refusal by community artists to articulate a
critical programme, their determination instead to
pragmatically pursue ‘vague’ definitions of
‘community’ in order to secure government funding
of their activities (1984: 22-23), had reduced the
movement to “something with the status of
ameliorative social work for what are pejoratively
called disadvantaged groups” (Watt, 1991: 56).
4. ‘Community’ – problematic concept
In this study we drew on a ‘dynamic’ notion of community, articulated by Prof.
David Watt after the programme for community arts that Kelly went on to
define via the British Socialist critical tradition, and Shelton Trust’s manifesto
on cultural democracy (1986). According to Watt:
“Static notions of community are seen as impositions, usually categorisations,
by a dominant culture concerned to maintain itself as monolithic by
exercising its power to define and subsume subgroups. Dynamic notions of
community … allow the creation of purposive communities of interest which,
by the process of self-definition, resist being thus subsumed and can retain an
oppositional integrity. This autonomy introduces the possibility of internal
negotiation as a basic mode of social interaction, and they are consequently
potentially democratic and alterable. The commitment to democracy as a
principle is then seen as leading to the possibility of broad alliances between
autonomous groups working to undermine the dominant culture through an
insistence on common access to the process of creating meaning and value
within the culture” (1991: 64).
5. Dynamic notion of community
Questioning both re-presentation of
marginalisation + instrumentalisation of arts as
part of (external) intervention to remediate social
deficit (‘arts as social elastoplast’ model – see
White). [‘voluntary participation’]
Community arts practices themselves resist being
subsumed by governmental and market logics.
How they resist while working in partnership with
social/public agencies and corporate entities is of
great interest, and also serves to bring the value
of community arts practices into sharp relief.
6. • Huge policy interest in arts as means of ‘connecting communities’ but all
too often this is reduced to tokenism or worse
• Formed partnership with artsworkers because we wanted to know what
their aims/objectives were, what creative partnerships and assets they
mobilised in working in places of deprivation, not ONLY those of
(cultural/social) commissioning bodies.
• ‘Value’ cannot be reduced to ‘social impact’ or measuring economically
based outcomes since the practices themselves resist being subsumed by
governmental and market logics. How they resist while working in
partnership with social agencies and corporate entities is of great interest,
and also serves to bring the value of community arts practices into sharp
relief. Our focus was more on ‘values’ that underpinned the practice –
rooted in long traditions/histories of community based/participatory
practices – but different from organisation to organisation.
• Partner orgs - NHS Greater Glasgow & Clyde, CADISPA Trust, and
www.poverty.ac.uk.
7. Developing an alternative critical
framework
drawing on :
• histories/theories of community arts (see Kelly 1984, Watt 1991,
Kershaw 1992, Fox 2002, Crehan 2011, van Erven 2000, 2013);
• cross-cutting research in creative partnerships, informal
pedagogies and inclusive arts practices (Jeffery 2005 etc.);
• community cultural development in which ‘cultural vitality’ is
posited as a central (fourth) pillar of sustainable (social, economic
and environmental) development (Hawkes 2001) (see also Adams
and Goldbard 2000, 2002, Goldbard 2006);
• assets-based community development (Kretzman and McKnight
1993) (see also Cohen-Cruz 2010)
• arts in health/human flourishing (White 2009).
8. Research/practice partnership
• Researchers partnered with four (4) UK
community-based arts/media projects:
– Theatre Modo (Aberdeenshire)
– Swingbridge Media (Gateshead)
– Lee Ivett (architect) and Nicola Atkinson/NADFLY
(visual artist), Love Milton (Glasgow)
– Bradford Community Broadcasting (Bradford)
9. Theatre Modo –critical case study
• A self-defined ‘social circus’ established in 1995, Theatre Modo works throughout
Scotland from bases in Glasgow and, since 2012, Peterhead utilising “high quality
engagement in circus, street theatre and carnival arts as a catalyst for individual
and community change” (Theatre Modo).
• In 2009, Aberdeenshire Community Planning Partnership invited Modo to
contribute to a ‘Youth Regeneration’/Reaching Out Project in Peterhead and
Fraserburgh, fishing towns located on the north eastern coastline of the region.
• Unbalanced Aberdeenshire economy – boom and bust simultaneously
(http://www.theguardian.com/cities/2014/jun/18/aberdeen-oil-city-boom-bust-
millionaires-unemployment)
• Oil industry wealth sits alongside economic decline in traditional industries
• Complex picture – pockets of multiple deprivation, EU immigration, drug/alcohol
addiction, ‘affluenza’
• Peterhead and Fraserburgh – young people make up just under 50% of population.
• Since 2009 Modo has produced an annual Fireworks Parade, a large celebratory
community event coinciding with Bonfire Night, in Peterhead (Pandemonium 2009,
Leviathan 2011) and Fraserburgh (Fantasmagoria 2010, Maelstrom 2012).
10.
11.
12.
13.
14. • Workshops in performance, design and making led by Modo practitioner
and ex-participant (AWL).
• Teams of two (progressive route through participation + inclusive practice
at scale)
• Danziger: “we concentrate on low-fi, cheap activities like juggling, stilt-
walking and fire because 2 of us can work with 30 young people at a time.
We don’t do aerial, for instance, because it’s too expensive. We are always
trying to find ways to make sure that our activities are affordable, possible
and inclusive so we don’t have to make choices about who takes part”
(2012).
• 64 weekly workshops in school (curriculum and special ed. classes), youth
and community groups (from scouts to alcohol/drugs recovery) – 1000
participants – 750 in parade – 7-8K watching.
• Community critical concept – dynamically inclusive – work with ALL young
people (not just hard to reach – not a ‘parade of the hoodlums’)
15.
16. • Modo carved out an active creative space – a
‘spatiality of action and performance’ (Rose
1997) – in which young people were occupied
with the disciplines of physical and circus
performance, and the challenge of making a
street parade and spectacular community
event
• Modo practitioners – ‘ownership’; ‘ creative
learning and development’ – task-based
• i.e. deliberately non-discursive, non-
representational practice/process.
17.
18. ‘what people seem to want is the liberty to
demonstrate that joy of doing stuff’ (Danziger
2012).
• Drawing on the work of Berlant, Copjec and Bhabha in and through an extended
discussion of Nancy’s concept of ‘inoperative community’, Rose (1997) asserts that
community arts workers engage in a radical politics that works to destabilise
power/knowledge by uncovering surplus, excess and lack in relation to “the
dominant culture’s discursive myths of identity and community” (Rose 1997: 187).
In other words, the resolute focus by community arts workers on process and
participation, their creation of a non-representational ‘spatiality of action and
performance’, founds a ‘politics of praxis’, which is also a ‘politics of resistance’
(1997). The very existence of a space of creative practice is a threat to the
dominant discursive order. Apparently fixed, stable and secure knowledges,
meanings and values can, potentially, be un-worked and re-worked in and through
participatory creative processes.
• the fireworks parade was driven by an emphasis on action and performance and,
within that, the enactment of emergent identities not necessarily simply tied to
place, family, school, or community, but primarily enacted through the celebratory
display of newly learned creative skills in a performed spectacle.
19. Inoperative/projective community
• holding off closure/singularity/exclusion of one type of community
‘building’ process for process, participation, space for many voices
• Each case study – Modo, Swingbridge and Love Milton worked
within this inoperative (non-functional) framework.
• While Modo is very much situated within practices problematised
as ‘governing by community’ (Rose 1999), we argue that in creating
a ‘spatiality of action and performance’ (Rose 1997), Modo’s
creative practice troubles fixed notions of identity and community
particularly in relation to young people and determinations of social
exclusion. It is within the non-representational space of
performance created by Modo that alternative possibilities, not
necessarily dictated by external intervention, are generated and
enacted.
20. The value of inoperative community?
There is a problem in the range of perceived benefits. A project like this has the potential to have a
massive range of benefits to a massive range of beneficiaries (participants, partners, groups,
professionals, public, the wider community). Some are individually slight but have a cumulative effect,
some are strategic and supported, others are life changing. Some are more guaranteed than others,
some are instant, others much less so. Some are seen very clearly by particular people or partners,
others are much more subtle or hard to spot. To claim or trumpet the full gamut would be ambitious
and deeply hard to prove, as well as possibly unwise.
Added to this is the challenge that in a partnership of this scale there are inevitably differences in
priorities or desired outcomes from one partner to the next, depending on their own values, outcomes
and involvement in the partnership. Negotiating these without allowing the work to become
fragmented is part of the creativity. But it does mean that sometimes the outcomes can only perceived
as part of larger whole. (“to be placed alongside and integrated with a range of other interventions”).
Sometimes other work feeds into the project, other times the benefits of the project can be best
perceived as contributing to a different or bigger picture.
…to state outcomes can actually make it harder to achieve. And to become focussed on delivering
specific outcomes can undermine the process (rather than responding creatively it encourages top
down dictated pathways).
(Martin Danzinger, Artistic Director, Theatre Modo)
21. Love Milton
• Architecture and visual arts in context of Milton –
post-war, north Glasgow housing estate
• How do you design a community centre/space
that will bring people together in
meaningful/productive way?
• marginal/outsider status in Glasgow’s ‘cultural
economy’ – attempting instead to make
meaningful communicative connections through
art and architecture as a medium of social
exchange
22.
23.
24.
25.
26. Swingbridge Media
• Participatory film making through cycle of
economic/industrial decline and regeneration in
NE England. All through that long 30-odd years
Hugh has kept video as space for people to voice
experiences of industrial decline and resultant
poverty AND of arts-led regeneration – which has
NOT remediated poverty – rather again, brings
class divisions into focus
• https://www.youtube.com/watch?v=zrBgT51cz18
27. Problems
• Rather than constantly attempting to ‘prove’ impact – better to pay
more attention to the ‘slow and gentle journey(s)’ (Crehan) of these
practices and the conditions and circumstances under which they
are more likely to thrive – need also to situate them historically
• Return to questions of cultural resource, cultural assets.
• Problems of putting positivist, policy-based frameworks in place as
primary means of understanding improvised, social processes –
leads to clash of discourses, clash of values and misunderstandings
about the purpose of such activities.
• Practitioners are used to being ‘chameleonic’ (Rimmer et al, 2014)
but are they/we masking our values in the service of neo-liberal
constructs? Is there a need to return to more explicit
understandings of the politics of community based practice?
28. References
• Adams, D and Goldbard, A. (2000) Creative Community: The Art of Cultural Development New York, NY: The Rockefeller Foundation.
• Belfiore, E. and Bennett, O. (2008) The Social Impact of the Arts: an intellectual history, London: Palgrave
• Brown, T, Higham, B and Rimmer M. (2014) Whatever Happened to Community Music? AHRC Research Network Report, Norwich:
University of East Anglia
• Cohen-Cruz, J. (2010) Engaging Performance: Theatre as call and response, London: Routledge
• Crehan, K. (2011) Community Art: An Anthropological Perspective. London and New York: Berg.
• Erven, E.A.P.B. van (2000) Community Theatre: Global Perspectives, London: Routledge
• Erven, E.A.P.B. van (2013). Community Arts Dialogues. Utrecht: Treaty of Utrecht
• Fox, J. (2002) Eyes on Stalks, London: Methuen
• Goldbard, A. (2006): New Creative Community: the art of cultural development, New York: New Village Press
• Hawkes, J. (2001) The Fourth Pillar of Sustainability: Culture’s Essential role in Public Planning. Melbourne: Common Ground/The
Cultural Development Network (Vic).
• Jeffery, G. (ed) (2005) The Creative College: building a successful learning culture in the arts, Stoke on Trent: Trentham Books
• Kelly, O. (1984) Community, Art, and the State: Storming the Citadels. London: Comedia
• Kershaw, B (1992,) The Politics of Performance: Radical Theatre as Cultural Intervention, London: Routledge
• Kretzmann. J and McKnight, J (1993) Building Communities from the Inside Out: a path towards finding and mobilizing a community’s
assets, Evanston, ABCD Institute
• Matarasso, F. (1997) Use of Ornament? The Social Impact of Participation in the Arts, Stroud: Comedia
• Rose, G. (1997) “Performing inoperative community. The space and the resistance of some community arts projects” in Pile and Keith
(Eds.) Geographies of Resistance London: Routledge
• Vickery, J. (2007) The emergence of culture-led regeneration: a policy concept and its discontents, Working Paper. Coventry: University
of Warwick. Centre for Cultural Policy Studies. (Research papers).
• Watt, D. (1991) “Interrogating ‘Community’: Social Welfare versus Cultural Democracy”, in Binns, V. (ed.) Community and the Arts:
History, Theory, Practice, London: Pluto Press
• White, M. (2009) Arts Development in Community Health: a social tonic, Milton Keynes: Radcliffe Publishing