The Arts: A Source of Comfort and Insight for Children who are Learning about Death

1980 ◽  
Vol 10 (2) ◽  
pp. 147-162 ◽  
Author(s):  
Sandra L. Bertman
Keyword(s):  
Human Experience ◽  
Expressive Arts ◽  
Human Spirit ◽  
The Arts ◽  
Professional Artist

The expressive arts - literature, film, song - are mediums for dramatic exposure of human experience with loss which reflect concerns present in the student of any age. Expression of the human spirit is not the exclusive province of the professional artist. Students can respond to the artists' perceptions through art expressions of their own (dialogue, drawing). This paper (1) identifies concerns, consolations and fears of artist and student; (2) illustrates materials and techniques for eliciting feelings and for their expression in aesthetic frameworks; (3) underscores the “mutuality,” - the universality and yet individuality of each mortal experience; (4) sees the arts as a mode of learning to be trusted in its own right; and (5) views the classroom as an appropriate setting for such sharing and study.

4. The culture of irrationalism

2015 ◽  
Author(s):  
Steven Beller
Keyword(s):  
Eastern Europe ◽  
Friedrich Nietzsche ◽  
Central And Eastern Europe ◽  
Human Experience ◽  
Strong Link ◽  
Cultural Approach ◽  
The Arts ◽  
Economic Modernization

Why has antisemitism been defined as ‘irrational’ hostility to Jews? This cultural approach was a reaction against the rationalist claim that all human experience and endeavour could be reduced to rational, calculable objects and relations. ‘The culture of irrationalism’ looks at the strong link between German cultural ‘irrationalism’, Romanticism, and antisemitism, and how influential people in the arts contributed to this. Even irrational thinkers who opposed antisemitism, such as Friedrich Nietzsche, also contributed in some way to the antisemitic thrust of German irrationalist culture. Jews, as allies of rationalist modernity, became the targets of many of those in Central and Eastern Europe who suffered from the dislocations of economic modernization.

scholarly journals In the age of the teaching artist? What teaching artists are and do

2015 ◽  
Vol 4 (1) ◽  
Author(s):  
Marit Ulvund
Keyword(s):  
New York ◽  
Community Setting ◽  
Teaching Artists ◽  
Teaching Artist ◽  
The Arts ◽  
International Teaching ◽  
The Usa ◽  
Definition Of ◽  
Artist Teacher ◽  
Professional Artist

The term teaching artist and the concept of teaching artistry developed in the USA in the 1970s, originating from artists performing this kind of work in New York City. Other terms, such as artist-teacher, creative agent, community artist, and others, are in use around the world. In Norway, the English term is often used; however, this author suggests the use of the Norwegian word “kunstnerlærer”. The review of recent research and literature, and observations of practice, recognizes the teaching artist as a professional artist working in and through the arts in an educational or community setting. Research in the practice field demonstrates that the teaching artist in programs and partnerships represent a new and effectual model for arts in education and community work, and a model acknowleding this is presented and discussed. The two first international teaching artist conferences (Oslo 2012, Brisbane 2014) confirm that a world community of teaching artists is emerging. However, the field has received relatively little attention from researchers, and the scholarship that does exist is limited to work in only a few countries. Coupled with the efficacy of the model, this study finds that there is a strong need for further exploration of ongoing and successful teaching artist practices, as well as a need for developing theory and concepts related to the competence needed by teaching artists. This article outlines a framework for teaching artistry and a definition of the teaching artist. In the context of the contemporary Norwegian arts and culture sector, the large potential in expanding teaching artistry practice are underscored.

Representing Decline: The Role of the Arts in Framing Discourses of Deindustrialisation

2001 ◽  
Vol 100 (1) ◽  
pp. 129-146 ◽  
Author(s):  
Deborah Stevenson ◽  
Georgia Paton
Keyword(s):  
New South ◽  
Place Identity ◽  
Local Communities ◽  
Expressive Arts ◽  
Local Identity ◽  
The Arts ◽  
South Wales ◽  
Community Solidarity ◽  
Local Reactions

Deindustrialising cities worldwide are facing considerable social and economic difficulties, which challenge local identity and the bases of community solidarity. Historically, the expressive arts have provided incisive commentaries on such change; however, deindustrialisation strategies are now being developed that include cultural programs as a way of minimising negative local reactions. There has been little academic analysis of this emerging arts/industry nexus or its relationship to local communities and arts agendas. In 1999. BHP closed its steelworks in the New South Wales city of Newcastle. Central to the process of closure was the Ribbons of Steel festival, funded in part by the Australia Council and held on the BHP site. This paper examines Ribbons of Steel to explore the role it played in framing discourses of closure and city reimaging. The paper also illuminates the power relations underpinning the event, providing insights into the shifting relationship between industry, creative expression and place identity.

‘But Art itself is Natural to Man’: Adam Ferguson and the Principle of Simultaneity

2018 ◽  
pp. 109-123
Author(s):  
Christopher J. Berry
Keyword(s):  
Human Experience ◽  
Historical Narrative ◽  
Material Life ◽  
The Arts ◽  
Short Hand ◽  
Made In

Despite a passage in his Institutes Ferguson does not systematically order his historical narrative in terms of what is labelled (as short-hand) the ‘four stages’. Ferguson’s conception and typology of ‘arts’ is explored; more particularly it addresses his argument that all the arts are co-eval in human experience. Hence Ferguson claims of the basic 3-fold classification (made in the Principles) of commercial, political and ornamental arts that they are simultaneous. As he recognises this means it is mistake to prioritise, both chronologically and conceptually, those arts which attend to the exigencies of material life over those which serve the need for mental attainment and ornament.

scholarly journals The Mindful Act of Translating Poetry from the Shoah. “with love and gratitude for much that was beautiful and unforgettable”1 Selma Meerbaum-Eisinger

2021 ◽  
Vol 3 (1) ◽  
Author(s):  
Courtney McDonald
Keyword(s):  
Human Experience ◽  
Human Spirit ◽  
Labour Camp

In spite of all the atrocities committed in the time of the Shoah the human spirit survived. It survived in various ways, one way in particular was through poetry. Poetry encapsulates the human experience and alongside has the power to give a voice to those who cannot speak. 2 This power is particularly important with regard to the victims of the Shoah. One such victim was the Czernowitz poet Selma Meerbaum-Eisinger, who perished at the age of eighteen in the Michailovca labour camp. A collection of her poetry has survived, and with that her voice and experiences survived.

Music, the Arts, and Healing

2019 ◽  
pp. 1-7
Author(s):  
Rodney Luther Whittenberg
Keyword(s):  
Personal Story ◽  
The Arts ◽  
Professional Artist

The goal of this chapter is to demonstrate the ability to create opportunities to use the arts to heal. The author has included three narratives, both his personal story as a professional artist, a non-clinical practitioner, and those of his students. These narratives illustrate the effect of the arts on individuals dealing with trauma and poverty. Time and time again, as indicated in these narratives, the arts can be called on to provide respite and relief from fear, anxiety, and hurting. The arts are a touchstone that can be revisited throughout a lifespan regardless of age or stage or even circumstance.

Life story and the arts: A didactic crossroad

2020 ◽  
Vol 11 (3) ◽  
pp. 315-328
Author(s):  
Samuel Schwartz ◽  
Amia Lieblich ◽  
Vivien Marcow Speiser ◽  
Elana Lakh ◽  
Tsiky Cohen ◽  
...  
Keyword(s):  
Life Story ◽  
Expressive Arts ◽  
Verbal Expression ◽  
Single Episode ◽  
Entire Life ◽  
Introductory Course ◽  
The Arts ◽  
Story Work ◽  
Interview Methodology ◽  
Original Approach

The following notes from the field introduces an original approach to working with narrative, storytelling and artistic expression in the framework of the creative and expressive arts therapies. Using an interview methodology developed by Amia Lieblich, a team of creative and expressive arts therapists teaching at The Academic College of Society and the Arts in Netanya, Israel, shares their theoretical observations and practical perspectives about moving from verbal to non-verbal expression of personal and collective stories. These insights emerged during an introductory course that the authors taught to creative and expressive arts therapists. We posit that life story work, both in regard to oneself and to others, from single episode memory or the documentation of the entire life course, may be of tremendous worth in the training of creative and expressive art therapists.

scholarly journals A randomised controlled trial of expressive arts-based intervention for young stroke survivors

2021 ◽  
Vol 21 (1) ◽  
Author(s):  
Caitlin Kar Pui Chan ◽  
Temmy Lee Ting Lo ◽  
Adrian Ho Yin Wan ◽  
Pamela Pui Yu Leung ◽  
Marco Yiu Chung Pang ◽  
...  
Keyword(s):  
Intervention Group ◽  
Well Being ◽  
Expressive Arts ◽  
Stroke Survivors ◽  
Waitlist Control ◽  
Young Stroke ◽  
Link Type ◽  
The Arts ◽  
Spiritual Well Being ◽  
Young Survivors

Abstract Background Stroke causes lasting brain damage that has numerous impacts on the survivor’s physical, psychosocial, and spiritual well-being. Young survivors (< 65 years old) tend to suffer more because of their longer overall survival time. Expressive arts-based intervention is considered a holistic approach for stroke rehabilitation because it allows participants to express their thoughts and emotions through the arts. The group environment also promotes mutual support among participants. The creative art-making process helps expand participants’ creativity and imagination as well as promote a sense of aesthetic appreciation. Previous studies have shown the effectiveness of the arts-based intervention in managing stroke and its psychosocial-spiritual comorbidities. Nevertheless, a systematic study has not been conducted, including in young survivors. This trial plans to investigate the effectiveness of an expressive arts-based intervention on bio-psychosocial-spiritual outcomes in young Chinese stroke survivors. Methods/design A single-blind, two-arm cluster randomised control trial with a waitlist control design will be adopted. One hundred and fifty-four stroke survivors, aged 18–64 years with modified Rankin Scale scores of 1–4, will be screened and randomised to either an expressive arts-based intervention group or a treatment-as-usual waitlist control group. The intervention group will receive a 90-min session once a week for a total of 8 weeks. All participants will be assessed three times: at baseline, 8 weeks, and 8 months after the baseline. Study outcomes include measures of depression and anxiety, perceived stress, perceived social support, hope, spiritual well-being, quality of life, salivary cortisol, blood pressure, and heart rate. Discussion This study is expected to contribute to the current knowledge on the effectiveness of an arts-based intervention on the holistic wellness of young stroke survivors. The findings will help stroke survivors and healthcare professionals make better choices in selecting practices that will yield maximum benefits, satisfaction, adherence, and sustainability. In addition, the examination of the relationships between bio-psychosocial-spiritual variables will help contribute to the development of holistic care for the survivors. Trial registration ClinicalTrials.gov, NCT03729648. Registered 31 October 2018 - Retrospectively registered, (329 words)

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