participatory arts
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2022 ◽  
pp. 154231662110667
Author(s):  
Henry Redwood ◽  
Tiffany Fairey ◽  
Jasmin Hasić

This article provides an analytical case study of a participatory youth-led filmmaking project in Bosnia and Herzegovina. Using the conceptual framework of hybridity, it critically considers whether and to what extent youth centred, participatory arts projects can facilitate the emergence of a positive hybrid peace. It reflects on three themes—solidarity; creativity as politics; and participation as norm—that speak to the opportunities and challenges encountered during the project. The analysis demonstrates that while participatory arts have the potential to induce a more emancipatory vision of peace, that, and mirroring the warnings from development studies, their effects are not a given and challenges and blockages persist.


2021 ◽  
pp. 194084472110526
Author(s):  
Helen F. Johnson

For many, the arts and sciences stand at opposite ends of an unbridgeable divide: the sciences, rigid, objective, systematic and authoritative; the arts, fluid, subjective, dynamic and capricious. Yet, there is a long history of productive dialogue and interconnection between these fields. Arts-based research represents a particularly fertile form of arts/science interaction. This paper interweaves poetry, theoretical discussion and empirical research to make the case for spoken word poetry as an arts-based method of inquiry that can provide a radically different way of doing, being and collaborating in and through research. With reference to the innovative method of ‘collaborative poetics’ and to the work of youth slam/spoken word educators, I argue that social scientists and spoken word practitioners can learn much from one another’s tools, techniques and ways of thinking, creating new forms of knowledge, redefining the audience/author relationship, and facilitating a ‘critical resilience’ which enables both individual fortitude in the face of adversity and a means through which to challenge the conditions that give rise to this adversity. The paper thus considers how spoken word as participatory poetic inquiry enables participants, researchers and poets to address the critical complexities and challenges of contemporary life.


2021 ◽  
Author(s):  
Faith Mkwananzi ◽  
F. Melis Cin

2021 ◽  
pp. 15-29
Author(s):  
F. Melis Cin ◽  
Faith Mkwananzi

2021 ◽  
Vol 23 ◽  
Author(s):  
Ashton Shaye Mason ◽  
Jill Sonke ◽  
Jennifer Lee

Background: Wellbeing plays an essential role in a complete and health community. Participatory arts interventions are popular to address wellbeing. Participatory drum circles can lead to social resilience, emotional completeness, and mental health benefits. The literature in the field of arts in health demonstrate the specific ways a drum circle may affect wellbeing through socialization, rhythmic entrainment, and expression. Although there are many great resources, many lack the specific tools to facilitate a drum circles as it pertains to specific technique and styles often utilized in percussion in the field of arts in health. Methods: The project used a mixed methods research design. A convergent mixed methods design will be used to collect quantitative data from the Warwick Edinburgh Mental Wellbeing Scale and the qualitative data will be received from a focus group. The results will be compared with the hopes of yielding similar themes. Results: The results of the Warwick Edinburgh Mental Wellbeing scale demonstrate an increase of the average wellbeing score after the four-week intervention by 2.88 points. The focus group’s final themes were 1) the core of the drum circle is driven from the facilitator fostering a strong sense of community that supports being inclusionary, respectful, and social; 2) Learning new skills in a community group benefits participants confidence because a) the curriculum progresses naturally and easily and b) rhythm is an innate and natural part of everyday life for individuals, making drum circles more comfortable.


2021 ◽  
Vol 10 (2) ◽  
pp. 230-246 ◽  
Author(s):  
Jenna C. Ashton

Focusing on the activist exhibition The Mothers of Tiananmen (2019), this article examines my methodology of curating for social action and justice using international collaboration and participatory arts-as-research. The exhibition responded to the ongoing campaign for justice for the victims and survivors of the Tiananmen Square Massacre, as well as sought to support women’s creative resistance and voice. The Mothers of Tiananmen was co-created with artist Mei Yuk Wong, the 64 Museum (Hong Kong), and artists participating in the Centre for International Women Artists (Manchester). The context for the exhibition is the city of Manchester, which has one of the highest Chinese populations in England, along with a diverse international demographic with over 200 languages spoken. Through this case study, curating is presented as a creative and critical tool by which to respond to the range of justice and activist concerns of international and diasporic communities.


2021 ◽  
Vol 15 (3) ◽  
pp. 307-327
Author(s):  
Jade French ◽  
Leah Jones

Recipe for a Good Life (2019) was an art exhibition at the Brindley in Cheshire which explored what it means to live a “good life” to local learning disabled people. Curated by self-advocate Leah Jones, it featured artworks created via a public participatory arts programme, where self-advocates, SEND schools, disability professionals, families, carers, and gallery visitors came together to share their different visions of what living a good life meant to them. This article documents and reflects on this exhibition using a life story approach. By describing the exhibition from Leah’s own perspective, this article offers an account of how this exhibition was curated, and furthermore, how her curatorial work and life as a self-advocate intersect, demonstrating the important role people with learning disabilities have the potential to play in culture as artists, communicators, and curators.


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