Roots Reloaded. Culture, Identity and Social Development in the Digital Age

This edited volume is designed to explore different perspectives of culture, identity and social development using the impact of the digital age as a common thread, aiming at interdisciplinary audiences. Cases of communities and individuals using new technology as a tool to preserve and explore their cultural heritage alongside new media as a source for social orientation ranging from language acquisition to health-related issues will be covered. Therefore, aspects such as Art and Cultural Studies, Media and Communication, Behavioral Science, Psychology, Philosophy and innovative approaches used by creative individuals are included. From the Aboriginal tribes of Australia, to the Maoris of New Zealand, to the mystical teachings of Sufi brotherhoods, the significance of the oral and written traditions and their current relation to online activities shall be discussed in the opening article. The book continues with a closer look at obesity awareness support groups and their impact on social media, Facebook usage in language learning context, smartphone addiction and internet dependency, as well as online media reporting of controversial ethical issues. The Digital progress has already left its dominating mark as the world entered the 21st century. Without a doubt, as technology continues its ascent, society will be faced with new and altering values in an effort to catch-up with this extraordinary Digitization, adapt satisfactorily in order to utilize these strong developments in everyday life

Rockefeller Foundation - 1999 Annual Report

Contains statement of mission and vision, president's message, program information, grants list, financial statements, and list of board members and staff

\u3cem\u3eCommunity Partners in Arts Access\u3c/em\u3e Evaluation: Final Report

This research report evaluates the John S. and James L. Knight Foundation Community Partners in Arts Access (CPAA) initiative to expand cultural participation among residents of North Philadelphia and Camden, NJ. The initiative had two phases. From September 2003 to December 2004, Knight invited 35 cultural organizations to participate in a planning process with a focus on organizational capacity, audience development, and action plans to broaden, deepen, and diversify participation. In December 2004, Knight awarded grants to 19 organizations to carry out their action plans over the next three years. The final evaluation report concluded that CPAA met its goals. Both regional and benchmark participation rates had increased from the beginning to the end of the initiative. By 2008 the gap between levels of cultural participation in North Philadelphia and Camden and the rest of the metropolitan area had been reduced significantly. This conclusion, however, belies the complexity that attended the initiative as it unfolded. Knight began CPAA in 2003 with an orthodox theory of organizational capacity building but by 2006 had shifted its focus to community transformation, and grantees had to rethink their projects. SIAP maintained its evaluation design: waves of grantee and regional participant data-gathering; a survey of artists living or working in North Philadelphia and Camden; and ongoing interviews and participant-observation with CPAA grantees. The qualitative record allowed SIAP not only to document what actually happened but also to make sense of changing theories of action during the course of the initiative

Wayang kulit in between making and performing culture

Esta tese surge do trabalho de campo antropológico performado ao longo de dois anos – desde julho de 2015 a junho de 2017 – em Java, na Indonésia e tenta explorar como as práticas de wayang kulit são articuladas na contemporânea Região Especial de Yogyakarta. Wayang é o nome genérico referente a uma variedade de performances indonésias, entre as quais wayang kulit: traduzível em teatro de marionetas de sombra devido às sombras projetadas pelas marionetas planas, recortadas em pele. Em 2003, o teatro indonésio de wayang foi oficialmente proclamado pela UNESCO como Obra-prima do património oral e imaterial da humanidade – referindo-se explicitamente a cinco tipos: wayang kulit purwa, wayang golek purwa, wayang kulit Bali, wayang kulit Palembang e wayang kulit Banjar. O ‘Wayang Puppet Theatre’ foi a primeira expressão cultural da Indonésia a ser reconhecida pela UNESCO, e sucessivamente a ser inscrita na Lista do património cultural imaterial em 2008, obtendo acesso à esfera do património a nível internacional. Os objectivos da tese são de explorar as realidades múltiplas e heterogéneas do wayang kulit, prestando atenção às práticas e narrativas do património. Ao mesmo tempo, o desafio é olhar para além do filtro e do quadro patrimonial, com base na consideração de que qualquer expressão cultural ocorre na correspondência rizomática de vários atores e práticas, múltiplas e vivas, participando ativamente da criação e do performar da cultura. Assim, a abordagem mais apropriada para adotar no conhecimento do wayang kulit parece ser a de se mover entre uma multiplicidade de agentes e atividades inter-relacionados, e diversamente relacionados com as práticas. Esta tese explora vários temas, como os de tradição e inovação, transmissão e perigo

Foundational Curriculum: Integrating Art, Literacy and Social Emotional Learning

This research examined foundational educational components to create an art curriculum for early learners. The curriculum integrates art education, literacy, social justice, and social-emotional learning. Various studies support that these components enhance confidence, communication, social awareness, and interpersonal skills. International art education models were also explored to select key pieces of information that support the need for such a curriculum. The National Art Education Association standards, Georgia Performance Standards, and social-emotional learning program Second Step® standards influenced the learning objectives. This study cumulates in year-long curriculum map for kindergarten visual arts education, which seeks to integrate multiple facets for comprehensive learning experience

Performing resurrection: upholding the spirit and legacy of El Salvador's Saint Oscar A. Romero through Bread and Puppet's and MECATE's radical theatre activism and liberation theology

Amidst death threats by the right-wing military for denouncing human rights violations during the Salvadoran Civil War, Salvadoran priest Archbishop Oscar A. Romero (1917-1980), a proponent of liberation theology, declared he was not afraid of death because he believed in resurrection; if killed, he would resurrect in the Salvadoran people. Shortly after, Romero was assassinated by the right-wing military while giving mass. In 1985, the North American protest theatre group Bread and Puppet Theater presented The Nativity, Crucifixion, and Resurrection of Archbishop Oscar A. Romero of El Salvador, his life, death, and dramatized resurrection in Nicaragua. This study investigates the role of performance in 'resurrecting' Romero's spirit and social justice legacy. Romero was canonized as a Saint by the Catholic Church in 2018. I utilize social movement theory and a hybrid methodological approach, drawing from autoethnography, historiography, oral history, and dramatic writing, and analyzing primary and secondary sources and participant observations during my company apprenticeship to understand performance as manifestations of Romero. My analysis concludes that upholding Romero's teachings through performance, like The Nativity and other group actions and behaviors, embodies Romero's spirit, held cultural, political, and personal implications for participants, contextualizes Bread and Puppet's praxis in the spirit of liberation theology and fostered transnational solidarity activism between Bread and Puppet and MECATE. This study contributes to the limited knowledge of protest theatre history within the Americas. It expands on existing Bread and Puppet history, highlighting its Latin American influence, preserves the legacy of Romero and MECATE, and offers new insight into radical theatre practices between the US and Central America as a model.Includes bibliographical references

Exploring Inclusion in a Therapeutic Theater Production

The purpose of this study was to investigate the lived experiences of participants in an inclusive therapeutic theater production. This study was approached through a post-intentional phenomenological lens, informed by critical dis/ability theory. Ten participants with various dis/abilities took part in semi-structured interviews and eight of the ten participated in a focus group. The researcher followed a post-reflexion plan during the data collection and analysis process to bridle her biases and assumptions. Data were analyzed using the phenomenological method of thematic analysis. An art-based research process was undertaken, and a script, using direct quotes from the participant’s interviews and the focus group, was created. The researcher’s findings centered around six qualitative themes and fifteen subthemes. Themes included Relationship Building in an Inclusive Environment, The Audience, Personal Stories, Personal Growth, Advocacy, and Inclusion. Overall findings indicated that the participants felt a sense of belonging and community, that they explored concepts of empowerment, and that they desired to make a societal impact by telling their personal stories

Word Play: Modernist Women and Performative Writing

In Word Play: Modernist Women and Performative Writing I read modernist literary texts informed by theories about theatre, performance, and art. Exploring lesser-known works of Djuna Barnes, Gwendolyn Bennett, Edna St. Vincent Millay, and Mina Loy, I combine literary analysis and performance studies to discover how modernist texts talk back to performance theories.;Performance studies, of course, is an inter-discipline that includes anthropology, sociology, performing arts, and literary theory. Modernist authors, influenced as they often are by art, performance, and ritual, incorporate these interdisciplinary interests into a writing practice, specifically performative writing. Performative writing is not so much a matter of style and form as a discursive, rhetorical practice. It presents textual moments that invoke performance and is grounded in the corporality of the body, calling attention to physical bodies in relation and movement. Because performative writing contains a rhetoric of potential action, it can have real social and political consequences. It stages a particular type of encounter between textuality and social realities, a relationship that appears in each of the primary texts I explore in this project. The work of these women is an active response to and reworking of social and political issues, and it acknowledges the complex relationship between history/politics and art/aesthetic form. I understand this labor as a modernist performance.;I do not attempt to define or demonstrate the most illustrative examples of performative writing; nor do I aim to lay out a conclusive and complete definition. Rather, I am interested in discovering how performative writing acts in the world and what effects it has. I lead with the writers themselves and map several trajectories of performative writing through these writers and their work. I chose these writers because they employ similar rhetorical strategies and have shared stylistic practices. I set the stage with Barnes to show the relation between physical violence and rhetorical violence; Bennett\u27s performativity involves breaking enforced invisibility and silence and uniting a community; Millay offers a metatheatrical performance that positions human agency against cycles of violence throughout history; and Loy gives a subjective account of the trauma of gender performance. Each chapter explores a different kind of violence and intervenes in that violence, offering commentary and critique in highbrow as well as lowbrow genres. My project demonstrates the ways in which the practice of performative writing can inform and expand our study of modernisms, genre, and gender

Arts Integration in Elementary Curriculum: 2nd Edition

This open textbook was revised in 2018 under a Round Eleven Mini-Grant for Revisions. Topics include: Arts Integration Music Visual Arts Literary Arts Performing Arts Physical Education and Movement A set of lecture slides for the textbook are also included as an additional file. Accessible files with optical character recognition (OCR) and auto-tagging provided by the Center for Inclusive Design and Innovation.https://oer.galileo.usg.edu/education-textbooks/1002/thumbnail.jp