Doctor of Philosophy (PhD) / This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.

The structural development of Paiwan tribe traditional social ranks Abstract The Paiwan tribe, a native people in Taiwan, has a perfect traditional social rank. They have maintained their primitive, original tribal ranks in every tribe in Ping-tung county since the Japanese era till now in Taiwan. Before the primitive tribes were forced to move into level ground¡Xnew villages arranged by government, they lived a self-contained and self-sufficient lifestyle, poor and in lack of sources. However, their self-confidence, force of condense in their tribes are very steadily. Under being kept sight of their tribal tendency by Japanese, the common people in tribes always obey and respect their chief¡Xtribal leader, without being affected by the governors. The Japanese government had to face the big secret worries about how to control the conditions, than tried to persuade them to work as an attendant to manage their people. In 1945, the Chinese government ruled the Taiwan islands after World War II. Since the new ruler came from mainland China didn¡¦t have any awareness about the tribal culture in Paiwan primitive society, they regarded them as one kind of barbarian tribe came from China in ancient time. In order to control the conditions in a muddle within three months, they forced the native people in every tribal to accept the Chinese surname given by governor. Due to such kind of discriminative attitude against the tribal dignity, the native people were led to lose their traditional class consciousness and native identification to their original society until the declaration martial law ended in 1987. From 1987 to 1996, the new movement of asking human rights ¡V democracy and freedom like a rising wind and scudding clouds in whole islands. Consequently, the Paiwan tribe was also getting awareness to rebuild their primitive culture, Paiwan tribe consciousness, which had lost for forty-two years. The process of searching movement seems like looking for their relatives who had parted for more than forty years. Though they had their same blood relationship, they had lost the same life experiences for such a long time. Therefore, they could only make up for a few part even they tried to do their best effort. Thus, I¡¦ll try to analysis the phases of structural movement of Paiwan tribe traditional social ranks and the affections under the national policy, social background during these years. Chapter one includes the preface for introduction, the purposes of research, the study of bibliography, the ranges of the research, the methods and structures of the research to present the aspects of this paper. Chapter two discusses the original class forms, system of work, processes of the structural development of Paiwan tribe traditional social ranks to explain how the tribal chiefs manage their people, rule their tribal affairs in their territory before the external governor interrupted their principles of primitive society. Chapter three describes how the Taiwan external government new movement ¡§the policy of national assimilation¡¨ affected the tribal chiefs to control or manage their social orders and how the immigrants new idea ¡§communalism¡¨ works and what the government policy about managing the preservative land for tribal people is. Chapter four states what is the negative results of the traditional tribal ranks and ancestor sacrificial rites under the governor¡¦s plan control of their tribal resident movement and the external religions during the all-rounded communications between the tribal society and current society from 1950 to 1987¡Xthe phases of developing entire economics in Taiwan. Chapter five emphasizes on how the tribal people examined their own feelings and motives, thought deeply themselves critically from 1987 to 2005. Because of accepting the frame of democracy and being conscious of accumulation wealth help them to promote their cultural revives. Then every tribe and village founds one after another its relative groups, community culture associations, and shows their trials of class strength while holding their traditional wedding ceremony to strengthen their traditional awareness of class nature. Above all, we found that Taiwan tribes still maintained their essence of culture without being stoke down by the attack of the current social concepts and polices of government in every stage. That is, the system of firstborn inheritor is the basis of the ranks structure in Paiwan tribes till now. The firstborn inheritor influence the development of all relatives, certainly the other younger brothers and sisters not only give their respect to the original family but also offer all necessary helps to honor their original family. The firstborn inheritor also has the duty to hold the life rite for the relatives and give them supports in any emergency situations. Now, the real leading role and the ownership in traditional Paiwan tribe ranks society has changed into the leadership in spirit. Key words: Paiwan tribe, native people , tribal rank structure, cultural development , Tribal chief, common people.

Doctor of Philosophy (PhD) / This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.

The aim of this research is to contribute ideas toward the possibilities of what music therapy can be, by examining the therapeutic potentials of creating and performing music within the context of an Australian maximum-security women’s prison. Until recently, music therapists rarely documented or explored the potential of performance for music therapy practice while some health professionals even suggested that performance is anti-therapeutic (See Maratos, 2004). Music therapists writing about their practices in forensic settings emphasise the therapeutic potentials of singing and song writing rather than performance and they predominantly approach these activities from a behavioural orientation. The almost singular theoretical approach to practising music therapy in forensic settings reflects a lack of relevant research. Consequently, the purpose underlying this research is to explore the therapeutic potentials of making and performing music with women in prison from an alternative perspective; namely humanistic rather than behavioural. The aim of this research is not only to examine previously undocumented processes in music therapy such as performance but also to contribute to the literature concerning the health and wellbeing of women in prison. / The research was designed as a qualitative case study of a ten-week creative process involving seven women in prison who collaboratively created a musical together with artists from a theatre company. As a culmination of this ten-week process, the women in prison and the artists of the theatre company performed the musical to an audience of approximately 60 prisoners, prison officers, health professionals and prison staff. In order to examine the therapeutic potentials of creating and performing music in this case, post-performance interviews were conducted with the seven women who were in prison as well as with the artists involved in the theatre company. The researcher also wrote session notes throughout the ten-week process and these, as well as the interviews and five songs created during the ten weeks, comprise the data set for this study. / The data was analysed using a variety of qualitative techniques chosen for their suitability to two main research tasks: 1) describing the case and 2) analysing the therapeutic potentials of creating and performing music in this case. In order to describe what happened collectively throughout the ten-week process, a content analysis was performed upon the researcher’s session notes. Phenomenological techniques of analysis were then applied to the interviews with the women in prison in order to describe the essence of each individual’s experience of the ten-week process. The five songs are presented in their original form as a way of further illustrating the case. In order to describe the work of the theatre company, techniques of grounded theory were used to analyse the interviews with the participating artists. Grounded theory analysis was also the method used to ultimately explain various aspects relating to the therapeutic potentials of creating and performing music in this case. / The main results of this analysis are presented in three parts. The first set of results explains how creating and performing music in this case served the participating women in prison as a bridge from the ‘inside’ to the ‘outside’. These women described a real and symbolic divide between their realities inside prison and the world outside the razor wire. By creating and performing music, the women were able to experience five different ways of shifting outside of their realities in prison, by moving 1) from physical and symbolic ‘inside’ places to ‘outside’ places, 2) from privacy to public, 3) from solitude to togetherness, 4) from self-focus to a focus on others, and 5) from subjective thought processes to objective thought processes. The results outline different therapeutic potentials for each type of outward movement. The exploration of an outward-directed approach to music experience in this case can help to extend conventional music therapy practices where inward-directed therapeutic shifts are more commonly described. / The second set of results depicts the influence of five personal resources that helped the women to enact the therapeutic potentials associated with each of the five outward shifts. In particular, these results suggest that each type of outward movement was especially powerful when courage, readiness, exchange, support and trust were present in their fullest dimensions. It was these resources, rather than the processes usually associated with therapy, that enabled the therapeutic potentials of creating and performing music in this case to be fulfilled. Consequently, the notions of ‘therapy’ and ‘therapeutic’ are further delineated while important implications for the use of music as therapy and for the related practice of ‘arts in health’ are highlighted. / The third and final set of results suggest that music in this case, when compared with visual art and drama, provided the women with a ‘middle road’ in terms of the levels of exposure required by each art-form. As a predominantly gentle form of exposure, music in this case provided therapeutic potentials that differed more in strength rather than quality when compared with drama and visual art. These results suggest the importance of creativity in explaining the relationship between the therapeutic potentials of all arts therapies while also representing important implications for the development of indigenous theory in music therapy. / In relation to the stated aims, this research documents and explores the therapeutic potentials of musical performance and directly relates these potentials to new possibilities for music therapy practice. Furthermore, the research presents a humanistic rather than behavioural approach to creating and performing music with women in prison, thereby adding variety and depth to the sparse music therapy literature related to forensic health. More broadly, however, this research adds to the slim body of literature concerning women in prison by outlining a creative and powerful approach to helping such women improve their health and well-being.

Doctor of Philosophy (PhD) / This thesis is an enquiry into the social and political role, in Australia, of practices that have attracted such labels as ‘community arts’, ‘cultural animation’, ‘cultural action’, or ‘community cultural development’ (CCD). It is often argued that such practices offer an effective means to bring about social and political change for people and communities who participate in them. Looking specifically at theatre-based approaches to CCD in Australia, this thesis examines an alternative hypothesis, namely that such projects and programs can contribute to the continued marginalisation of those who take part in them. Using a combination of Pierre Bourdieu’s theoretical approach to field analysis, Don Handelman’s analytical framework of special events and Baz Kershaw’s theory of potential efficacy, I carry out an ethnographic and performance-based analysis of a particular project called The Longest Night (TLN), which was devised in collaboration with young people from The Parks, a cluster of suburbs north west of Adelaide, South Australia, and in collaboration between Urban Theatre Projects, a small Sydney-based theatre company with a reputation for doing socially and politically challenging work, young people living in The Parks and local partner organisations, for the 2002 Adelaide Festival. I find that in some instances participation in CCD projects and programs is an enabling factor, creating change opportunities in cultural, economic and/or political spheres in the lives of those who take part, whilst at other times it is a constraining factor. Participation in CCD projects and programs creates possibilities because the practices are potentially subversive and foster elements of learning and change in some participants. It also creates limitations because CCD practitioners operate within a subfield of social and cultural practices where the mechanisms and structures in place, indirectly, tend to help reproduce legitimised social and cultural values and norms.

Dans les années d’après-guerre entrent en ligne de compte des données démographiques et économiques nouvelles qui font évoluer la société française et lui imposent d’adapter son système éducatif, de décloisonner les disciplines et de favoriser l’interdisciplinarité. Seule l’école peut vaincre le déterminisme social lié à la naissance. C’est le colloque d’Amiens (1968) qui pose les bases d’une réflexion qui a nourri toutes les avancées sur l’éducation artistique depuis. Les années 70 sont celles de la réforme pour l’Education nationale et celles de la réflexion et des premières expérimentations pour la Culture. Les années 80 marquent une réelle ouverture de l’école, que ce soit vers les établissements culturels, à l’intervention de partenaires extérieurs au milieu scolaire ou à de nouvelles matières. Ouverture, mais aussi compromis entre les acteurs. Le protocole d’accord d’avril 1983 signé entre le ministère de la Culture et celui de l’Education nationale et la loi sur les enseignements artistiques de 1988 ont cédé aux compromis. Dans les années 90, penser l’éducation artistique de manière globale et à l’échelle d’un territoire apparaît comme le meilleur moyen de faire travailler ensemble les écoles et les équipements culturels à l’échelle d’une ville, d’un département ou d’une région, de garantir un maillage parfait du territoire et donc d’atteindre à la démocratisation culturelle. Mais finalement s’impose surtout le constat d’un empilement quelque peu désordonné des dispositifs. Le plan Lang/Tasca qui doit se réaliser sur cinq ans à partir du 14 décembre 2000 ouvre un nouveau chapitre. Mais l’exécution de ce nouveau plan n’est pas garantie par sa décision. / After the 2nd world war, the french society has to deal with new demographic and economic datas. It has to be taken into account by the french education system which should adapt, break down barriers between disciplines and promote intedisciplinary because just school can overcoming social determinism linked at birth. The Amiens’ symposium (1968) lays the foundation for reflection which fed all the thoughts about artistic education. The seventies see the amendment for School and first thinking and experimentations for Culture. Eighties tag an actual opening of school for cultural institutions, the mediation of external partners and new topics. Opening, but also agreement between all the characters. The protocole d’accord signed in April 1983 between ministry of culture and ministry of education and the law about arts education (1988) are the results of an agreement. In the nineties, thinking globally about arts education and on a territory scale seem to be the best way to make work together schools, cultural facilities and to ensure a perfect network coverage, and so to reach cultural democratisation. But actually, we observe a stack of messy contracts. The plan Lang/Tasca which should come true till december 14, 2000, opens a new chapter. But the achievement of that brand new plan is not insured by its decision.

Made available in DSpace on 2016-06-02T19:39:53Z (GMT). No. of bitstreams: 1 6627.pdf: 544209 bytes, checksum: ded9f28354bad8c6f1ba9f2b494f16b2 (MD5) Previous issue date: 2015-02-23 / The importance of research about cultural development of children in kindergarden is configured understand deeply and scientifically how children are appropriating knowledge through social relations. We focus on the cultural development of two years old children, by way of plays, that in the theoretical framework adopted, the Historical and Cultural Theory, this activity is driving psychic development in this age group. Therefore, the research question that guided this study was: what show us the play of children about their cultural development? From this, we delineated these following objectives: to identify and analyze the appropriation process of social relations of two years old children, which compose the cultural infant development, through the analysis of their play; to discuss these processes of cultural, development in relation to children s learning of this age. This research is qualitative in nature and effected in a unit of Early Childhood Education located in an upcountry city on the State of São Paulo. The main tool of data collected was the video recording and, to complement this technique, some recordings were make every day. We realized the analysis using the microgenetic approach Vigotsky. The results show that children reveal important information about their development while play and this this knowledge appropriation begin very early. The conclusions of this research contribute to the educational area as a source of theoretical and practical knowledge. / A importância da investigação sobre o desenvolvimento cultural de crianças de Educação Infantil configura-se na necessidade de compreender de forma aprofundada e científica como as crianças estão se apropriando dos conhecimentos por meio das relações sociais. Focalizamos o desenvolvimento cultural de crianças de dois anos de idade, por intermédio das brincadeiras, em que, no referencial teórico adotado, a Teoria Histórico-Cultural, essa atividade é propulsora de desenvolvimento psíquico nesta faixa etária. Para tanto, a questão de pesquisa que direcionou o estudo foi: o que revelam as brincadeiras das crianças sobre o desenvolvimento cultural infantil? A partir disso, delineamos os seguintes objetivos: Identificar e analisar os processos de apropriação das relações sociais por crianças de 2 anos de idade, as quais integram o desenvolvimento cultural infantil, por intermédio da análise de suas brincadeiras; Discutir esses processos de desenvolvimento cultural em relação à aprendizagem das crianças nessa faixa etária. A pesquisa é de natureza qualitativa e foi realizada em uma unidade de Educação Infantil localizada no interior do Estado de São Paulo. O principal instrumento para a coleta dos dados foi a vídeo gravação e, para complementar esta técnica, alguns registros foram feitos em diário. A análise dos resultados foi realizada a partir da abordagem microgenética de Vigotsky. Os resultados obtidos demonstram que as crianças revelam importantes informações sobre seu desenvolvimento enquanto brincam e que a apropriação do conhecimento começa desde muito cedo. Os dados em conclusões a que chegou a presente pesquisa contribuem para área educacional, como fonte de conhecimento teórico e prático.

abstract: In contemporary U.S. culture, dance is often confined to the young and the trained, isolated on stages and in dance studios, and viewed as entertainment that is disconnected from "real life." Socially engaged dance practices re-connect dance to society in meaningful ways. By connecting individuals to their own bodies, to each other, to ideas, and to social, civic, and educational institutions, socially engaged dance practices use movement, the body, and the tools of participatory art, which contributes to the development of a democratic society, while catalyzing social change, and building healthy communities. / Dissertation/Thesis / M.F.A. Dance 2013

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O presente trabalho objetivou compreender os significados e sentidos construÃdos pelas crianÃas acerca da aÃÃo de participaÃÃo. Dos diversos lugares que crianÃas ocupam na sociedade brasileira constata-se que junto aos discursos e prÃticas sociais que enaltecem seu direito à participaÃÃo e à voz na vida social e polÃtica, coerentes com o fato de as crianÃas serem facultados direitos e deveres, coexistem aqueles que a afirmam em um lugar de incapacidade e inferioridade no percurso de desenvolvimento do sujeito racional de uma sociedade eminentemente adultocÃntrica. Desde uma perspectiva histÃrico-cultural da constituiÃÃo humana, compreende-se que as crianÃas se constroem como tais nas tensÃes caracterÃsticas desse contexto. A participaÃÃo à compreendida no presente trabalho como uma aÃÃo que se concretiza na interaÃÃo com o(s) outro(s), em contextos social e culturalmente carregados de valores, sendo focadas as situaÃÃes cotidianas, com sua diversidade de modos possÃveis de participar. A pesquisa, de carÃter qualitativo, foi desenvolvida junto a um grupo de crianÃas e adolescentes, com idades entre 7 e 17 anos, participantes de um projeto social no nordeste brasileiro. Como tÃcnicas de geraÃÃo de dados, foram utilizadas a metodologia das Oficinas, caracterizando uma pesquisa-intervenÃÃo, e a observaÃÃo participante. As formas de registros adotadas foram o diÃrio de campo e a gravaÃÃo dos encontros em vÃdeo, seguida de transcriÃÃo. Os dados construÃdos foram analisados a partir do referencial da Rede de SignificaÃÃes e de uma anÃlise microgenÃtica na matriz histÃrico-cultural. As crianÃas e os adolescentes criaram estratÃgias participativas para lidar com a tensÃo entre o instituÃdo e a experiÃncia, produzindo sentidos em torno de significados hegemonicamente compartilhados acerca de sua participaÃÃo. Assim, a participaÃÃo destes sujeitos acontece em seu cotidiano, nas situaÃÃes mais simples de interaÃÃo, nos microespaÃos das relaÃÃes, assim como, em prÃticas participativas socialmente reconhecidas para que esse processo se concretize. Entretanto, as imagens de infÃncia presentes nas prÃticas com crianÃas muitas vezes acabam por (for)matar as experiÃncias de ser crianÃa e de participar, desconsiderando os contextos, as demandas e as possibilidades de um tempo que està sendo sempre desfeito, refeito e construÃdo. / This study aimed to understand the significances and meanings constructed by children regarding the action of participation. From the many places that children occupy in Brazilian society, it appears that, among the discourses and social practices that enhance their right to participation and voice in social and political life, consistent with the fact that rights and duties are assigned to the children, it coexists those that claim a place of inadequacy and inferiority in the course of development of the rational subject of an eminently adultocentric society. From a historical-cultural perspective of the human constitution, it is understood that children are constructed as such by the context characteristics tensions. Participation in this study is understood as an action that is realized in the interaction with the other (s) in cultural and social contexts filled with values, focusing on everyday situations, with their diversity of possible ways to participate. This qualitative research was developed with a group of children and adolescents aged between 7 and 17 years, participants in a social project in northeastern Brazil. As techniques for generating data, we used the methodology of the Workshops, characterizing an intervention research, and participant observation. The registers adopted were the field diary and video recording of meetings, followed by transcription. The constructed data was analyzed from the reference of Network of Significations and the microgenetic analysis by the historical-cultural matrix. The children and the adolescents created participatory strategies to deal with the tension between the instituted and the experience, producing meanings around shared hegemonic significances about their participation. Thus, the participation of these subjects happens in their daily lives, on most simple interaction, in micro-spaces of relations, as participatory practices socially recognized for this process to take place. However, images of children present in practices with children often end up formatting the experience of being a child and to participate, disregarding the contexts, needs and possibilities of a time that is always being undone, redone and built.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Cultura e Desenvolvimento, dois termos alocados, a priori, em universos distintos e insociáveis, onde o primeiro é alocado um plano abstrato e o segundo no concreto. Quando se vislumbra uma correlação entre esses dois marcos, encontra-se arcabouços teóricos fundamentadores para a proposta aqui levantada de um desenvolvimento cultural. Com esse parâmetro estabelecido, respeitando a proposta desenvolvimentista amazônica deste programa de pós-graduação, estabelece como recorte geográfico a linha de fronteira entre Brasil e Venezuela, ao abordar o potencial da cidade de Pacaraima no setor cultural e suas consequenciais para região. Essa dissertação traz uma série de discussões acerca do fator cultural como força promotora de desenvolvimento na região fronteiriça. Dividida em três capítulos, nos quais se buscou fundamentar uma série de questionamentos, embasando teoricamente as hipóteses levantadas. No primeiro capítulo, as bases teóricas são apresentadas, são abordados os temas que gerais como desenvolvimento, fronteira e cultura. Assim, com esse marco teórico estabelecido, busca-se aprofundar as os temas, casando-os com o objeto de estudo proposto. O segundo capítulo por sua vez, é de cunho mais metodológico, no qual é apresentado o modelo quadrimensional da abordagem dos dados. Nesse capítulo é introduzida, esquematizada e desenhada as quatro dimensões nas quais é enxergado o desenvolvimento no ambiente fronteiriço em questão: a sociológica, a antropológica, a econômica e a política. Por fim, o ultimo capitulo buscou expor os dados levantados sob a égide das quatro dimensões, engessando com partes teóricas para reforçar os objetivos propostos. / Culture and Development, two allocated terms, a priori, in different universes and unsociable, where the first is allocated an abstract plan and the second in concrete. When it sees a correlation between these two landmarks, it is theoretical frameworks for the proposal raised here of a cultural development. With this parameter set, respecting the Amazon developmental purpose of this graduate program establishes a geographical cut the border between Brazil and Venezuela, to address the potential of the city of Pacaraima in the cultural sector and its consequential to region. This dissertation brings a lot of discussions about the cultural factor as a force promoting development in the border region. Divided into three chapters, in which it sought to support a series of questions, theoretically basing the hypotheses. In the first chapter, the theoretical foundations are presented, the issues are addressed to general and development, border and culture. So with this theoretical framework established seeks to deepen the themes, matching them with the proposed study object. The second chapter in turn is more methodological matrix, in which is shown four-dimensional data model approach. In this chapter is introduced, sketched and designed the four dimensions in which it is seem as development in the border environment in question: the sociological, anthropological, economic and political. Finally, the last chapter sought to expose the data collected under the auspices of the four dimensions, plastering with theoretical parts to strengthen the proposed objectives.