Butterwick / Roy Working the Margins of Community-Based Adult Learning

The Power of Arts-Making in Finding Voice and Creating Conditions for Seeing/Listening
1. Auflage 2016
ISBN: 978-94-6300-483-1
Verlag: SensePublishers
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 196 Seiten

Reihe: International Issues in Adult Education

This volume gathers stories about how various art and creative forms of expression are used to enable voices from the margins, that is, of underrepresented individuals and communities, to take shape and form. Voice is not enough; stories and truths must be heard, must be listened to. And so the stories gathered here also speak to how creative processes enable conditions for listening and the development of empathy for other perspectives, which is essential for democracy. The chapters, including some that describe international projects, illustrate a variety of art-making practices such as poetry, visual art, film, theatre, music, and dance, and how they can support individuals and groups at the edges of mainstream society to tell their story and speak their truths, often the first steps to valuing one's identity and organizing for change. Some of the authors are community-based artists who share stories thus bringing these creative endeavors into the wider conversation about the power of arts-making to open up spaces for dialogue across differences. Art practices outlined in this book can expand our visions by encouraging critical thinking and broadening our worldview. At this time on the earth when we face many serious challenges, the arts can stimulate hope, openness, and individual and collective imaginations for preferred futures. Inspiration comes from people who, at the edges of their community, communicate their experience.

Autoren/Hrsg.

Butterwick, Shauna

Roy, Carole

Inhaltsverzeichnis

1;TABLE OF CONTENTS;6
2;ACKNOWLEDGEMENTS;8
3;INTRODUCTION;10
3.1;OUR ORIENTATION AND INTENTIONS;10
3.2;ADDING TO THE CONVERSATION;11
3.3;AND NOW…;12
3.4;IN CONCLUSION;14
3.5;REFERENCES;14
4;SECTION 1:TELLING OUR STORY THROUGH VISUAL ARTS;16
4.1;1. FEMINIST ARTS-BASED ADULT EDUCATION WITH HOMELESS AND STREET-INVOLVED WOMEN;17
4.1.1;LOCATING MYSELF; CONTEXTUALISING THE PROJECT;18
4.1.2;THE STRUCTURE AND ARTS OF THE PROJECT;20
4.1.3;PUBLIC ENGAGEMENT AND ACTIVIST ART;22
4.1.4;SUCCESSES, CHALLENGES AND LESSONS LEARNED;24
4.1.5;FINAL THOUGHTS;26
4.1.6;REFERENCES;27
4.2;2. “I STILL HAVE MY HANDS”:Rural Women, Depression, and Zines;29
4.2.1;INTRODUCTION;29
4.2.2;BACKGROUND;29
4.2.2.1;Creating Counter-Narratives through Zines;31
4.2.2.2;The Firebird and Other Stories;32
4.2.2.3;Mongrel Mag;33
4.2.2.4;My Shade of Blue;34
4.2.3;SEAMFULNESS: UNRAVELLING REFLECTIONS;35
4.2.3.1;Naming One’s “Social Bath”;36
4.2.3.2;Aesthetic Openness as a Formal Strength;36
4.2.3.3;Zinemaking as Agency;37
4.2.4;ADULT LEARNING AT THE SEAMS;37
4.2.5;REFERENCES;38
4.3;3. WEAVING COMMUNITY TOGETHER:Learning at the Loom;40
4.3.1;INTRODUCTION;40
4.3.2;SERVICE LEARNING;41
4.3.3;L’ARCHE IN ANTIGONISH;42
4.3.4;THE THREE COMMUNITY ART PROJECTS;43
4.3.4.1;Noah’s Ark: 2008–09;43
4.3.4.2;The Peaceable Kingdom: 2009–10;46
4.3.4.3;Chapel Cross: 2011–12;47
4.3.5;REFLECTIONS;49
4.3.6;NOTES;50
4.4;4. A PSYCHOTHERAPIST BRINGS ART-MAKING TO PATIENTS IN ZIMBABWE:The Gift of Presence;52
4.4.1;INTRODUCTION;52
4.4.2;ABOUT ME;52
4.4.3;ZIMBABWE AND HOSPITAL SETTINGS;53
4.4.4;THE ART OF PRESENCE;54
4.4.4.1;The Arts;54
4.4.4.2;Photography;56
4.4.4.3;Films;57
4.4.4.4;Schools;57
4.4.4.5;Massage and Listening;58
4.4.5;REFLECTIONS;59
5;SECTION 2: CREATIVE EXPRESSION: INCREASING UNDERSTANDING BETWEEN COMMUNITIES;62
5.1;5. AMPLIFYING VOICES:Film Festivals, New Perspectives, Critical Reflection, and Inspiration;63
5.1.1;INTRODUCTION;63
5.1.2;AUTHOR;63
5.1.3;DOCUMENTARY FILM FESTIVALS;64
5.1.4;NEW PERSPECTIVES;65
5.1.4.1;Dispelling Myths of Homelessness;65
5.1.5;PROVOKING CRITICAL REFLECTION;66
5.1.5.1;New Ideas about Health Education and about Cuba;67
5.1.5.2;Challenging Perspective on Education and One’s Career;67
5.1.6;INSPIRING HOPE, ENGAGEMENT, AND COLLECTIVE DREAMS;68
5.1.6.1;Engaging Music: Social Development, Healing, and Activism;69
5.1.7;CLOSING REFLECTIONS;71
5.1.8;REFERENCES;72
5.2;6. THROUGH THE LENS OF TRANSFORMATIVE LEARNING:A Photovoice Pilot Project with Persons with Diverse Abilities in Belize;73
5.2.1;INTRODUCTION;73
5.2.2;PHOTOVOICE;74
5.2.3;CAPTURING THE AHA! MOMENTS;75
5.2.3.1;Accessibility;75
5.2.3.2;Exclusion;76
5.2.3.3;Identity;77
5.2.3.4;Voice;78
5.2.3.5;Services;78
5.2.4;THE PHOTOVOICE EXHIBITION LAUNCH;79
5.2.5;TRANSFORMATIVE LEARNING;81
5.2.6;REFLECTIONS;82
5.2.7;ACKNOWLEDGEMENTS;84
5.2.8;REFERENCES;84
5.3;7. MEETING ON THE RIVER OF LIFE:Fostering Loyalist and Mohawk Exchanges through the Arts;86
5.3.1;INTRODUCTION;86
5.3.2;BACKGROUND;87
5.3.2.1;Dying for Change – Telling a Story;87
5.3.2.2;The Six-Mile Divide – Telling Truths;88
5.3.2.3;Another Conflict, a New Approach: Organizing for Change;89
5.3.2.4;My Part: Marrying Various Art Forms in Ways That Support MarginalizedIndividuals and Groups;90
5.3.3;MEETING ON THE RIVER OF LIFE EXHIBITION;91
5.3.3.1;Historical Treaty Artefacts: Two Row Wampum Treaty Belt and SilverCovenant Chain;91
5.3.3.2;The OPP: Providing Engaging Ways for Necessary Exchanges;92
5.3.3.3;Planning and Holding the Exhibition;93
5.3.3.4;Artworks in the Exhibition;95
5.3.4;CONCLUSION;97
5.3.4.1;Unintended Outcomes;97
5.3.4.2;Personal Reflections;98
5.3.5;REFERENCES;99
5.4;8. VOICE, IDENTITY, AND COMMUNITY:The Possibilities and Challenges of Facilitating Arts-Based Engagement;100
5.4.1;FAMILY AND SCHOOL MATTERS;100
5.4.2;GROWING POLITICIZATION;101
5.4.3;ARTS CREATES AN OASIS;102
5.4.4;ABANTE BABAE – GO FORWARD WOMEN;106
5.4.5;ARTQUAKE: SPOKEN WORD;108
5.4.6;RAP WORKSHOP AT A YOUTH DETENTION CENTER;109
5.4.7;THE ART AND POLITICS OF FACILITATION: REFLECTIONS;111
5.5;9. THE ART PEACE PROJECT;113
5.5.1;BACKGROUND AND MY ROLE;113
5.5.2;PLAYING ON FAULT LINES;114
5.5.3;ACADEMIC SPACE;118
5.5.4;SELF-EMPOWERMENT;120
5.5.5;NOTE;123
5.5.6;REFERENCES;123
6;SECTION 3:ENACTING & EMBODYING;125
6.1;10. SPEAKING TRUTH TO POWER:The Political Fashion Shows of Filipino Activists;126
6.1.1;INTRODUCTION;126
6.1.2;IN THE BEGINNING…;126
6.1.3;THE ARTS-BASED ACTIVISM OF THE PWCBC;127
6.1.4;THE POLITICAL FASHION SHOWS;128
6.1.5;SPANISH COLONIZATION;129
6.1.6;EXPLOITATION OF NATURAL RESOURCES;132
6.1.7;SO FAR AWAY;133
6.1.8;THE FAMILY SEPARATION DRESS;135
6.1.9;REFLECTIONS ON POLITICAL FASHION SHOWS AS FEMINISTPOPULAR EDUCATION;136
6.1.10;ACKNOWLEDGEMENTS;138
6.1.11;NOTES;138
6.1.12;REFERENCES;138
6.2;11. FRACTURED FABLES:A Prison Puppet Project;141
6.2.1;INTRODUCTION;141
6.2.2;THE PROJECT;142
6.2.3;THE CHALLENGE;143
6.2.4;THE EARLY PROCESS;144
6.2.5;THE BODY OF WORK;146
6.2.6;THE SEAL BOY;147
6.2.7;PUTTING IT ALL TOGETHER;148
6.2.8;THE FINAL STRETCH;148
6.2.9;SOME NOTES ON PUPPETRY;150
6.2.10;CLOSING REFLECTIONS;151
6.2.11;NOTES;151
6.2.12;REFERENCE;151
6.3;12. THE PARK BENCH PLAYERS: Telling Stories of Living with Mental Illness with Sincerity,Humour, and Respect;153
6.3.1;INTRODUCTION;153
6.3.1.1;About the Author;154
6.3.2;THE PROJECT;155
6.3.2.1;The Development of the Play;157
6.3.2.2;The Premiere;158
6.3.3;THE IMPACT;158
6.3.3.1;Expansion: School Performances and the Teacher Resource Tool;161
6.3.3.2;Keeping the Show on the Road—A Journey of Hope and Recovery;162
6.3.4;CONCLUSION;163
6.4;13. TELLING OLD STORIES IN NEW WAYS:Popular Theatre in Western Kenya;164
6.4.1;INTRODUCTION;164
6.4.2;FOUNDATIONS;165
6.4.3;TURNING STORY INSIDE OUT;166
6.4.4;THE FIRST WORKSHOP: ASKING QUESTIONS THROUGH THEATRE;169
6.4.5;THEORY INFORMING PRACTICE;172
6.4.6;MOVING FORWARD;174
6.4.7;NOTES;174
6.4.8;REFERENCES;175
6.5;14. A MOTHER/DAUGHTER DISTANCE DANCE: Virtually Connecting Incarcerated Mothers andTheir Daughters through Choreography;176
6.5.1;INTRODUCTION;176
6.5.2;CONTEXT AND NEED;176
6.5.2.1;Incarceration of Women in the United States;176
6.5.2.2;Incarcerated Mothers and the Effects on Families;177
6.5.3;COLLABORATIVE VISION;178
6.5.3.1;Beginnings;178
6.5.3.2;The Pearl;179
6.5.4;BEAUTY, CHANGE, AND VALUES;179
6.5.4.1;Structure and Process;179
6.5.4.2;Building Trust;179
6.5.4.3;Generating Movement;181
6.5.4.4;Resistance and Loss;182
6.5.5;VIRTUALLY CONNECT WORKSHOP;183
6.5.5.1;Connection Lost;184
6.5.6;CONCLUSION;185
6.5.7;ACKNOWLEDGEMENTS;186
6.5.8;REFERENCES;186
6.6;CONCLUSION:The Strands and The Braid;187
6.6.1;SELF-AWARENESS;188
6.6.1.1;Reduction of Stigma;188
6.6.1.2;Claiming One’s Own Identity;188
6.6.1.3;Increased Agency and Empowerment;188
6.6.1.4;Envisioning New Realities;189
6.6.1.5;Facilitator Self-Awareness;189
6.6.2;EMBODIMENT;189
6.6.2.1;Spontaneity and Play;189
6.6.2.2;Recalling Trauma and Providing a Means of Communication;189
6.6.2.3;Fictionalizing Reality;190
6.6.3;COLLABORATION/RELATIONSHIPS;190
6.6.3.1;Fostering a Collaborative Spirit;190
6.6.3.2;Art as Equalizer;190
6.6.3.3;Giving up Control;190
6.6.3.4;Art as Language for Creating Relationships;191
6.6.4;COLLECTIVE ACTION;191
6.6.4.1;Promote Difficult Conversations;191
6.6.4.2;Promote Dialogues across Difference;191
6.6.4.3;Public Pedagogy;191
6.6.5;TRANSFORMATION;192
6.6.5.1;Disorienting Dilemma or Catalyst;192
6.6.5.2;Critical Self-Reflection;192
6.6.5.3;Identity Shifts;192
6.6.6;THE BRAID;193
6.6.7;REFERENCES;193
7;CONTRIBUTORS;194