The Arts in Cross-Sector Collaborations: Refl ections on Recent Practice in the U.S.

2009 ◽  
pp. 347-362
Author(s):  
Bill Flood ◽  
Beth A. Vogel
Keyword(s):  
The Arts ◽  
The U.S

scholarly journals The U.S. Role and Policy in Central Asia: Energy and Beyond

2012 ◽  
pp. 33-51
Author(s):  
AKM Iftekharul Islam
Keyword(s):  
National Security ◽  
Central Asia ◽  
Fossil Fuels ◽  
The United States ◽  
Global Strategy ◽  
Energy Resources ◽  
Energy Potential ◽  
Alternative Source ◽  
The Arts ◽  
The U.S

A significant geopolitical consequence of the demise of the Soviet Union1 in the international arena is the rise of intense political and commercial competition for control of the vast energy resources of the newly independent and vulnerable states of the Caucasus and Central Asia. These energy resources and, in particular, the oil and natural gas deposits have now become the apple of discord in Central Asia introducing a new chapter in the Great Game of control over Eurasia (Hill 1997: 200). The region has great energy potential and is strategically important. The United States has varied and at times competing interests in Central Asia. In the past few years, real and present dangers to the U.S. national security especially Islamist terrorism and threats to the energy supply, have affected the U.S. policy in Central Asia. The region, which includes the five post-Soviet states of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan, as well as Afghanistan and the Caspian basin, plays an important part in the U.S. global strategy in view of its proximity to Russia, China, India, Pakistan, Iran, and other key regional actors. No less important are its ethno-religious composition and vast deposits of oil, gas, coal, and uranium. Literally, the U.S. interests in Central Asia can be summarized in three simple words: security, energy, and democracy. Moreover, a key U.S. national security concern is the diversification of energy sources and the Caspian region is a significant alternative source of fossil fuels. In this article a critical analysis will be attempted on the U.S. policy and role in central Asia. DOI: http://dx.doi.org/10.3329/afj.v4i0.12931 The Arts Faculty Journal Vol.4 July 2010-June 2011 pp.33-51

Trans-Religious Dancing Dialogues: Michel Henry on Dionysus and the Crucified

2021 ◽  
Vol 9 (2) ◽  
pp. 243-264
Author(s):  
Joshua M. Hall
Keyword(s):  
Transcendental Subjectivity ◽  
The Arts ◽  
The Social ◽  
Religious Dialogue ◽  
Michel Henry ◽  
New Interpretation ◽  
Four Levels ◽  
The U.S

Abstract Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry’s innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in the interview, as follows: (1) the interview as such, with Jean-Marie Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Friedrich Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity.

The Benefits and Limitations of a Short-Term Study Abroad Program to Prepare Teachers in a Multicultural Society

2017 ◽  
pp. 361-382
Author(s):  
Heejung An ◽  
Carrie E. Hong ◽  
David Fuentes
Keyword(s):  
Study Abroad ◽  
Cultural Awareness ◽  
Pedagogical Practices ◽  
Korean History ◽  
The Arts ◽  
Short Term Study ◽  
Research Findings ◽  
Teacher Workforce ◽  
Study Abroad Program ◽  
The U.S

This chapter describes a group study abroad program in which 12 U.S. participants (6 pre-service and 6 in-service teachers) traveled to South Korea to enhance their cultural awareness of Korea and to then develop curricula pertaining to Korean history, the arts, area studies, and literature. The authors describe what the program focused on and how the curriculum activities were designed and implemented. Further, an overall theoretical framework for the project and a summary of research findings is presented. Overall, findings note that the participants' level of perceived cultural awareness was not significantly altered through participation in the program. Additionally, this chapter reports whether and how participants' future perceived pedagogical practices were changed as a result of participating in this program. Suggestions for how to diversify the U.S. teacher workforce are also discussed.

scholarly journals Baldwin’s Transatlantic Reverberations

2020 ◽  
Vol 6 (1) ◽  
pp. 176-198
Author(s):  
Jovita dos Santos Pinto ◽  
Noémi Michel ◽  
Patricia Purtschert ◽  
Paola Bacchetta ◽  
Vanessa Naef
Keyword(s):  
Critical Race Studies ◽  
Situated Knowledge ◽  
Black Feminist ◽  
The Arts ◽  
Sexual Racism ◽  
Queer Of Color ◽  
Controlling Images ◽  
Raoul Peck ◽  
The Village ◽  
The U.S

James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.

Transborder Immigrant Tool

Transfers ◽  
2011 ◽  
Vol 1 (3) ◽  
pp. 113-118
Author(s):  
Fernanda Duarte
Keyword(s):  
Law Enforcement ◽  
Cell Phone ◽  
Humanitarian Aid ◽  
Arts And Humanities ◽  
The Arts ◽  
Mexico Border ◽  
Border Crossers ◽  
Available Technology ◽  
The University ◽  
The U.S

The Transborder Immigrant Tool is a Border Disturbance Art Performance that discusses the physical and virtual limits of the U.S.–Mexico frontier. It was developed by the Electronic Disturbance Theater (EDT) with the funding of the Arts and Humanities Grant 2007–2008 at the University of California in San Diego. The project uses an inexpensive GPS-enabled cell phone and a custom piece of software, the Virtual Hiker Algorithm, to guide border crossers in the desert. The crossing of the U.S.–Mexico border can be deadly due to the severe conditions of the environment; once in the Mexican desert, the software installed in the cell phone directs the immigrant toward the nearest aid site, be that water, first aid or law enforcement, along with other contextual navigational information. According to the EDT, the Transborder Immigrant Tool was created with the aim of reappropriating widely available technology to be used as a form of humanitarian aid, as well as offering a tactical intervention of distraction and disturbance in the order of transnational corridors. In addition to the navigational capabilities of the Tool, the performative effect is also provided through poetry made available on the screen of the cell phone. It is with this poetry that the artists attempt to rescue a sense of hospitality and to alleviate the difficulties of the journey.

Shalom Goldman, Starstruck in the Promised Land: How the Arts Shaped American Passions about Israel. Chapel Hill: University of North Carolina Press, 2019. 244 pp.

2021 ◽  
pp. 285-287
Keyword(s):  
North Carolina ◽  
Soft Power ◽  
University Of North Carolina ◽  
Promised Land ◽  
Chapel Hill ◽  
The Arts ◽  
The U.S

This chapter reviews Shalom Goldman's Starstruck in the Promised Land: How the Arts Shaped American Passions about Israel (2019). Despite its title, this book has little to say about how “the arts shaped American passions about Israel.” The exposition of its “arts” examples is more lucid in the book's introduction than in its body. More than two-thirds of the volume convey insufficiently researched or inaccurate reports about Israeli history, often focusing on issues that have nothing to do with the ostensible topic of the arts' presumptive “soft power” in the shaping of the U.S.–Israel relationship. There is also an untoward amount of autobiographical memoir writing crisscrossed with sweeping, questionable allegations about the two Jewish cultures under study. Goldman seems unconcerned about delivering on his promise to write about American cultural icons and Israel, and he produces such a short roster of these icons, that the book inculcates a contrary, and possibly correct, impression suggesting that, on a celebrity cultural level at least, America has never really been “starstruck” about the promised land.

Pooling Resources to Fund the Arts

2017 ◽  
pp. 88-113
Author(s):  
Leigh Nanney Hersey
Keyword(s):  
Nonprofit Organizations ◽  
Government Funding ◽  
Education Programs ◽  
Earned Income ◽  
Private Giving ◽  
The Arts ◽  
Revenue Streams ◽  
Nonprofit Arts ◽  
The Relationship ◽  
The U.S

The viability of today's arts and cultural nonprofit organizations depends much on the ability to generate financial resources. Leaders of these organizations must balance government funding, private giving, and earned income to meet their budget needs. Using regression analysis, this research focuses on the relationship between government funding and private giving to nonprofit arts and culture organizations. Results suggest that government funding of the arts, including arts education programs, encourages private giving. Therefore, organizations need to continue to fight for funding from programs like the U.S. Department of Education's Arts in Education which will in turn encourage private giving. It is the pooling of different revenue streams that can keep the arts vibrant in our communities.

Reviewing the Arts in the U.S. Mass Media

1984 ◽  
Vol 34 (1) ◽  
pp. 21-34
Author(s):  
Heinz-Dietrich Fischer
Keyword(s):  
Mass Media ◽  
The Arts ◽  
The U.S

scholarly journals An Integrative Review of Arts-Based Strategies for Addressing Pain and Substance Use Disorder During the Opioid Crisis

2021 ◽  
Vol 22 (1_suppl) ◽  
pp. 44S-52S
Author(s):  
Julie A. Leis ◽  
Colleen I. Morrison
Keyword(s):  
Substance Use ◽  
Pain Management ◽  
Substance Use Disorder ◽  
The United States ◽  
Treatment Readiness ◽  
Opioid Crisis ◽  
The Arts ◽  
Prevention And Treatment ◽  
Art Forms ◽  
The U.S

In October 2017, the U.S. Department of Health & Human Services declared the opioid crisis a national public health emergency and prioritized identifying effective, evidence-based strategies for pain management and the prevention and treatment of substance use disorder (SUD). Increasingly, the arts have become more widely established and accepted as health-promoting practices in the United States and around the world. As the U.S. health care system moves toward greater integration of physical and behavioral health, arts-based interventions should be considered among potential complementary approaches for managing pain and preventing and treating SUD. We conducted an integrative literature review to summarize and synthesize the evidence on the role of the arts in the management of pain and in the prevention and treatment of SUD, including opioid use disorder. The available evidence suggests that music interventions may reduce participants’ pain, reduce the amount of pain medication they take, improve their SUD treatment readiness and motivation, and reduce craving. Few studies examined art forms other than music, limiting the ability to draw conclusions for those art forms. Given the critical need to identify effective strategies for managing pain and preventing and treating SUD, future research on arts-based interventions should examine maintenance of pain management and SUD treatment benefits over time and outcomes related to SUD prevention.

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