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What do the best youth arts programmes look like, and how can young people develop through them? This book highlights the conditions needed for youth arts work to be successful, using six international, best practice case studies.
What do the best youth arts programs look like, and how can young people develop through them? This groundbreaking book highlights the conditions needed for youth arts work to be successful, using six international, best practice case studies.
Community theatre is an important device for communities to collectively share stories, to participate in political dialogue, and to break down the increasing exclusion of marginalised groups of citizens. It is practised all over the world by growing numbers of people. Published at the same time as a video of the same name, this is a unique record of these theatre groups in action. Based on van Erven's own travels and experiences working with community theatre groups in six very different countries, this is the first study of their work and the methodological traditions which have developed around the world.
The Arts and Youth at Risk: Global and Local Challenges is a contribution to the lively international dialogue about creative and arts-based interventions for young people categorized as “at risk”. It contains chapters written by internationally recognized researchers and practitioners in arts education, youth arts and criminology. The instrumental benefit of arts participation for disadvantaged and marginalized young people is an area of increasing interest worldwide. This body of research highlights the positive educational and social outcomes of arts programs within and outside the schooling system. It also interrogates the ethics of arts interventions in a diverse and socially inequitable global context. The book questions the motivations of those working with “at risk” youth and challenges practitioners to ensure that their work with marginalised communities is efficacious as well as socially and politically responsible. Professor Shirley Brice Heath describes this book as “philosophically complex and pragmatically provocative”. She commends the editors and authors for taking “the brave stance of interrogating the consequences, trajectories, and effects of participation in the arts by young people – especially those who carry labels such as at risk.” She calls attention to the critical need as outlined in this volume to consider contextual background as well as an international perspective on children and youth when planning and delivering social and arts-based interventions.
This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.
Addresses community arts and evaluation with an emphasis on the visual arts. This volume draws together a variety of international perspectives dealing with the common difficulty of conception related to both the mission of community centers and of the value of the visual arts programs offered within them.
The Mexican Museum of San Francisco was founded in 1975 by artist Peter Rodriguez to "foster the exhibition, conservation, and dissemination of Mexican and Chicano art and culture for all peoples." Its holdings include some 14,000 objects with a historical range extending from pre-conquest Mexico to contemporary Mexican American and Latino communities in the United States. The Chicano Studies Research Center's collection includes a broad selection of the museum's administrative papers and related materials. Karen Mary Davalos draws on these documents to trace the origins of the museum and explore how its mission has been shaped by its visionary artist-founder, local art collectors and patrons, Mexican art and culture, and the Chicano movement. A detailed finding aid and a selected bibliography complete the volume.
