The IP Law Book Review, v. 8#1

AUTHORS IN COURT: SCENES FROM THE THEATER OF COPYRIGHT, by Mark Rose. Reviewed by Robert Spoo, The University of Tulsa College of Law COPYRIGHT BEYOND LAW: REGULATING CREATIVITY IN THE GRAFFITI SUBCULTURE, by Marta Iljadica. Reviewed by Zahr K. Said, University of Washington School of Law CHOREOGRAPHING COPYRIGHT: RACE, GENDER, AND INTELLECTUAL PROPERTY RIGHTS IN AMERICAN DANCE by Anthea Kraut. Reviewed by Carys Craig, Osgoode Hall Law School, York Universit

Spartan Daily April 20, 2011

Volume 136, Issue 41https://scholarworks.sjsu.edu/spartandaily/1148/thumbnail.jp

Spartan Daily April 20, 2011

Volume 136, Issue 41https://scholarworks.sjsu.edu/spartandaily/1148/thumbnail.jp

Expressive arts in music education: A creative and integrative curriculum

Despite the National Coalition for Arts Standards providing a framework for creative and integrative music education, relatively few opportunities for students to express their creativity and connect with music in their lives and culture exist due to a fixation on competitive performance. Such a disproportionate reliance on performance-based music education ignores students’ creative potential and severs their connection to more-than-human musics. Meanwhile, during a student mental health crisis, competition not only ignores the health and wellness needs of students and teachers but leads to unhealthy and unsustainable life practices causing stress and anxiety. The expressive and creative arts offer dramatic alternatives, actively engaging senses and creating embodied experiences that can foster curiosity, wellness, positive development, and social emotional learning. Anchored in poiesis, person-centered psychotherapy, intermodal arts integration, eco-consciousness, and health and wellness, this curriculum helps educators facilitate expressive and creative arts experiences in the context of standards-based music learning

Getting In On the Act: How Arts Groups are Creating Opportunities for Active Participation

Arts participation is being redefined as people increasingly choose to engage with art in new, more active and expressive ways. This movement carries profound implications, and fresh opportunities, for the nonprofit arts sector.We are in the midst of a seismic shift in cultural production, moving from a "sit-back-and-be-told culture" to a "making-and-doing-culture." Active or participatory arts practices are emerging from the fringes of the Western cultural tradition to capture the collective imagination. Many forces have conspired to lead us to this point. The sustained economic downturn that began in 2008, rising ticket prices, the pervasiveness of social media, the roliferation of digital content and rising expectations for self-guided, on-demand, customized experiences have all contributed to a cultural environment primed for active arts practice. This shift calls for a new equilibrium in the arts ecology and a new generation of arts leaders ready to accept, integrate and celebrate all forms of cultural practice. This is, perhaps, the defining challenge of our time for artists, arts organizations and their supporters -- to embrace a more holistic view of the cultural ecology and identify new possibilities for Americans to engage with the arts.How can arts institutions adapt to this new environment?Is participatory practice contradictory to, or complementary to, a business model that relies on professional production and consumption?How can arts organizations enter this new territory without compromising their values r artistic ideals?This report aims to illuminate a growing body of practice around participatory engagement (with various illustrative case studies profiled at the end) and dispel some of the anxiety surrounding this sphere of activity

Dancing with the Posthumans : Readerly Choreographies and More-than-Human Figures

Peer reviewe

“The Most Unwanted Musical”: A New Methodology for Crowdsourcing Content Towards the Creation of Musical Theatre

My thesis was inspired by a series of artworks called "People's Choice" by Komar & Melamid. I interviewed 19 of my closest friends and family to ask what they would most hate to see in a musical. Based on all of that data, I have written the book & lyrics of a musical that contains every single thing they said that they would hate

Chapter Introduction

This introduction motivates the objectives of Performance Generating Systems in Dance and provides wayfinding markers for the inquiries, insights, and resources of the book. First, the need to understand, conceptualize, and render accessible the practice of performance generating systems is discussed. I then sketch the interdisciplinary and multimethodological journey of research this book is based on and name the established artists and research collaborators that have been involved. The three theoretical frameworks of the book – dramaturgy, psychology, and performativity – are introduced and anchored in key insights about performance generating systems. From this backdrop, I outline how these frameworks are applied to, and further developed through, case examples of the practice by sharing a selection of the topics covered and discoveries offered within the contents of the book