By David Elliott, Marissa Silverman, Wayne Bowman
"This first-of-its-kind compendium unites views from artists, students, arts educators, policymakers, and activists to enquire the advanced approach of values surrounding artistic-educational endeavors. Addressing various inventive domains-including tune, dance, theater, visible arts, movie, and poetry-contributors discover and critique the conventions that govern our interactions with those practices. creative Citizenship makes a speciality of the social duties and capabilities of beginner artists and examines moral concerns which are conventionally pushed aside in discourses on those themes. The questions this publication addresses contain: How does the idea that of citizenship relate to the humanities? What sociocultural, political, environmental, and gendered "goods" can creative engagements create for individuals around the world? Do specific artworks have designated potentials for nurturing inventive citizenship? What are the best ideas within the arts to institute swap and/or withstand neighborhood, nationwide, and global difficulties? What duties do artists and shoppers of artwork need to facilitate relationships among the humanities and citizenship? How can inventive actions give a contribution to the eradication of inauspicious 'ism's? a considerable accompanying site good points movies of "artivism" in motion, videotaped interviews with students and practitioners operating in numerous areas and locations, a web publication, and supplementary assets approximately latest and rising tasks. completely researched and engagingly written, inventive Citizenship is a vital textual content for artists, students, policymakers, educators, and students."--Publisher's website. Read more...
summary: "This first-of-its-kind compendium unites views from artists, students, arts educators, policymakers, and activists to enquire the complicated process of values surrounding artistic-educational endeavors. Addressing a variety of inventive domains-including track, dance, theater, visible arts, movie, and poetry-contributors discover and critique the conventions that govern our interactions with those practices. inventive Citizenship specializes in the social obligations and services of novice artists and examines moral matters which are conventionally brushed off in discourses on those subject matters. The questions this ebook addresses comprise: How does the concept that of citizenship relate to the humanities? What sociocultural, political, environmental, and gendered "goods" can inventive engagements create for individuals around the globe? Do specific artworks have precise potentials for nurturing creative citizenship? What are the simplest suggestions within the arts to institute swap and/or face up to neighborhood, nationwide, and global difficulties? What duties do artists and shoppers of artwork need to facilitate relationships among the humanities and citizenship? How can creative actions give a contribution to the eradication of inauspicious 'ism's? a considerable accompanying site gains videos of "artivism" in motion, videotaped interviews with students and practitioners operating in quite a few areas and areas, a weblog, and supplementary assets approximately present and rising tasks. completely researched and engagingly written, creative Citizenship is a necessary textual content for artists, students, policymakers, educators, and students."--Publisher's site
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Extra resources for Artistic citizenship: artistry, social responsibility, and ethical praxis
Using Jacques Rancière’s work on universal teaching, democratic dissensus, and the politics of the arts, Lewis argues that engaging with the arts leads to a different concept of what it means to be a citizen. Instead of being tied to predetermined skills, dispositions, virtues, or content knowledge, a democratic subject is first and foremost a curious subject who is exposed to details of experience that would otherwise be marginalized, ignored, or rendered invisible by common sense. According to Lewis, Rancière’s “aesthetic regime” points us toward a redistribution of the sensible partitioning of social, political, and economic relations, which creates an affective space and time of democratic discontinuity.
2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press. , & Hanauer, N. (2011). The gardens of democracy: A new American story of citizenship, the economy, and the role of government. Seattle, WA: Sasquatch Books. , & Bernatzky, G. (2002). Emotional sounds and the brain: The neuron- affective foundations of musical appreciation. Behavioral Processes, 60, 133–155. Regelski, T. (1998). The Aristotelian bases of praxis for music and music education as praxis.
Retrieved from http://â•‰r fkineky. htm 6. Kennedy Performance Project. Retrieved from http://â•‰r fkineky. htm 7. 3). 8. The concept of “artivism” and therefore “artivist” can be found in Rodney Diverlus’s chapter (in this volume) and also Sandoval and Latorre (2007). R EFER EN C ES Bowman, W. (2002). Educating musically. In R. Colwell & C. ), The new handbook of research on music teaching and learning (pp. 63–â•‰84). New York, NY: Oxford University Press. Bowman, W. (2012). Music’s place in education.