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This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investigating their connection with wider socio-political and economic developments. The thesis should not be read as a survey, despite being the first book-length analysis of Greek performance art in both English and Greek. The material included here has been selective (drawn out of years of field research) and yet presents, and represents, the spectrum of themes and positions making up the history of performance art in Greece. My contention is that the rise and establishment of performance art in Greece reflected both the political ferment of the time (early 1970s) and an enquiry into the possibility of flight from traditional media. The dual aim of this study is, first, to facilitate and encourage the integration of performance art in a revised Greek art history; and, second, to contribute to an expansion of performance art histories in an international context through the negotiation of hitherto unknown material synthesised in a study of adequate length. This thesis has required large-scale in situ research and overcoming the major obstacle of the absence of relevant publicly held archives. This was one reason why even an elementary linear history of performance art had been such an overwhelming task in the past; a second reason is the overall marginalisation of performance art theory in the Greek context. Through the Greek paradigm, the thesis illuminates new aspects not only of performance but also of post-performative participatory practices, engaging new conceptualisations. By identifying fundamental issues in the production, dissemination, and reception of performance art in Greece, I provide a critical analysis not only of its achievements and potential but also of its impasses and failures. My intention in undertaking this research has been to disprove the notion - implied or stated as a matter of fact in histories of contemporary Greek art - that performance art has had only a sporadic and inconsistent presence in this 'periphery' scene. I argue that the artists investigated in this study are conclusively part of the history of performance in the 20th and 21th centuries, thereby setting the terms and calling for further research on the subject.

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This research explores the overlap between community-based art therapy and school-based art therapy through the surveyed experiences of art therapists working in school settings, and informed by community-based art therapy components and characteristics identified in A Model for Art Therapists in Community Practice by Dylan Ottemiller and Yasmine Awais. A literature review focused on five components and characteristics identified within the community-based art therapy literature, and informed the review of school-based art therapy literature based on the community-based art therapy themes. A qualitative survey approach was utilized through the distribution and data analysis of an electronic survey and findings were enriched by the researcher’s participation in the development and implementation of a brief community-based art therapy program providing an art therapy experience to families receiving services at a domestic violence intervention center. Analysis of the data revealed three major themes and specific areas where school-based practice is facilitating community-based art therapy (CBAT) components and characteristics. The findings discuss which CBAT components and characteristics are and are not being facilitated within school-based practice, and in conclusion the research offers ways school-based art therapy programs may offer opportunities for community-based practice.

Made available in DSpace on 2016-04-25T20:22:53Z (GMT). No. of bitstreams: 1 Luiz Pereira de Souza.pdf: 1282700 bytes, checksum: 7227c4537be96e18ed0ec2fa4621d7d6 (MD5) Previous issue date: 2009-06-15 / Secretaria da Educação do Estado de São Paulo / The objective of this research paper is to reflect upon and comprehend the implications of the program Community based Art Education, which has been implanted in a technical assistance of the Meu Guri youth shelter, following the enactment of the Child and Adolescent Statute (Federal Law nº 8069 de 13/07/1990). As this is a new discipline for this kind of assistance, a bibliographical review, based mainly on studies of BARBOSA (1995, 1998, 1999), was done about teaching the history of Art education in formal studies. Phenomena of an interdisciplinary character, which were based on projects promoted by the shelter s assistance team, were also analyzed. The choice of a qualitative methodology sought to understand the perspectives of the participating subjects with regards to the everyday institutional life of the shelter. This way, the shelter s employees (both educators and technicians) were as much the protagonists in this process as the sheltered children and adolescents were. Thus, from our research we were able to come up with a panorama of the politico-pedagogical dynamic at the shelter, which makes evident the necessity for the promotion of new interdisciplinary assistance paradigms that prepare both the children and adolescents in this protective regimen for a more complex, equitable, and inclusive society / Esta pesquisa tem como objetivo refletir e compreender as implicações da Arte/Educação Comunitária inserida no atendimento técnico do abrigo infanto-juvenil Meu Guri após a promulgação do Estatuto da criança e adolescente. (Lei Federal n º 8069 de 13/07/1990). Como se trata de uma disciplina nova neste tipo de atendimento, realizou-se uma revisão bibliográfica baseada principalmente nos estudos de BARBOSA (1995, 1998, 1999) sobre a história da Arte/Educação no ensino formal. Também foram analisados os fenômenos de caráter interdisciplinar baseados nos projetos promovidos pela equipe de atendimento do abrigo. A escolha da metodologia qualitativa buscou compreender a perspectiva dos sujeitos participantes do cotidiano institucional do abrigo. Desta forma, tanto funcionários (educadores e técnicos) como as crianças e adolescentes abrigados foram protagonistas nesse processo. Assim, constatamos nessa pesquisa um panorama da dinâmica político-pedagógica do abrigo, evidenciando também a necessidade da promoção de novos paradigmas interdisciplinares de atendimento que preparem as crianças e adolescentes atendidas nesse tipo de regime de proteção para uma sociedade mais complexa, solidária e inclusiva

Made available in DSpace on 2016-04-26T14:57:46Z (GMT). No. of bitstreams: 1 Luiz Pereira de Souza.pdf: 1282700 bytes, checksum: 7227c4537be96e18ed0ec2fa4621d7d6 (MD5) Previous issue date: 2009-06-15 / Secretaria da Educação do Estado de São Paulo / The objective of this research paper is to reflect upon and comprehend the implications of the program Community based Art Education, which has been implanted in a technical assistance of the Meu Guri youth shelter, following the enactment of the Child and Adolescent Statute (Federal Law nº 8069 de 13/07/1990). As this is a new discipline for this kind of assistance, a bibliographical review, based mainly on studies of BARBOSA (1995, 1998, 1999), was done about teaching the history of Art education in formal studies. Phenomena of an interdisciplinary character, which were based on projects promoted by the shelter s assistance team, were also analyzed. The choice of a qualitative methodology sought to understand the perspectives of the participating subjects with regards to the everyday institutional life of the shelter. This way, the shelter s employees (both educators and technicians) were as much the protagonists in this process as the sheltered children and adolescents were. Thus, from our research we were able to come up with a panorama of the politico-pedagogical dynamic at the shelter, which makes evident the necessity for the promotion of new interdisciplinary assistance paradigms that prepare both the children and adolescents in this protective regimen for a more complex, equitable, and inclusive society / Esta pesquisa tem como objetivo refletir e compreender as implicações da Arte/Educação Comunitária inserida no atendimento técnico do abrigo infanto-juvenil Meu Guri após a promulgação do Estatuto da criança e adolescente. (Lei Federal n º 8069 de 13/07/1990). Como se trata de uma disciplina nova neste tipo de atendimento, realizou-se uma revisão bibliográfica baseada principalmente nos estudos de BARBOSA (1995, 1998, 1999) sobre a história da Arte/Educação no ensino formal. Também foram analisados os fenômenos de caráter interdisciplinar baseados nos projetos promovidos pela equipe de atendimento do abrigo. A escolha da metodologia qualitativa buscou compreender a perspectiva dos sujeitos participantes do cotidiano institucional do abrigo. Desta forma, tanto funcionários (educadores e técnicos) como as crianças e adolescentes abrigados foram protagonistas nesse processo. Assim, constatamos nessa pesquisa um panorama da dinâmica político-pedagógica do abrigo, evidenciando também a necessidade da promoção de novos paradigmas interdisciplinares de atendimento que preparem as crianças e adolescentes atendidas nesse tipo de regime de proteção para uma sociedade mais complexa, solidária e inclusiva

This study is concerned with the roles and relationships between artists-in-residence, community audiences, and program coordinators/art educators as they engage together in community arts programs. This study takes place at Project Row Houses (PRH), a community arts organization located in Houston, Texas and focuses on the artist-in-residence program, which commissions a group of national and international artists for a 6-month period to create art installations in relation to the community and its African-American heritage. This ethnographic case study is based on the activities and events surrounding the 2008 PRH exhibition, Round 29, Thunderbolt Special: The Great Electric Show and Dance, after Sam Lightnin’ Hopkins and employed qualitative data gathering methods of participant-observation, conducting semi-structured, open-ended, in-depth interviews, and through document collection, and contextual information. Observations were recorded through field notes, photographs, and video. Interviews were conducted with 3 artists-in-residence, 3 community audience members, and 3 program coordinators or staff members involved with the program, regarding their experiences at the site and experiences with each other. My analysis presents the roles of artist, community audience, and program coordinator/art educator through three sections on cultural work. Within these sections I discuss topics related to the power of voice, situatedness, and creativity, as it relates to the artists and community audiences. For the role of program coordinator/art educator, I focus more closely on her role in the process of mediation. Topics of power, social dynamics, identity, and representation are also framed within these discussions.