Here, I bring communication theories into conversation with peace and conflict scholarship. Specifically, I explore how the ways in which women narrate their experiences of violent conflict through sewing collectives can inform conflict transformation work. I engage in this exploration within the framework of narrative theory, using Kenneth Burke’s dramatistic pentad to analyze the narratives presented in a selection of textile pieces created by women in Chile, South Africa, and Northern Ireland. I situate this project within literature pertaining to feminist approaches to rhetoric, discussions of bridgework in identity negotiation from intercultural communication, concerns related to conflict transformation, and work with socially engaged art. Finally, I bring these analyses into conversation with one another to consider how women rhetors may inform conflict transformation through their textile work. In particular, I discuss how each of these rhetors offers the narrative elements to reconstitute collective identities, providing an avenue toward peace in their own settings.

Through this practice based research I argue that cultural democracy as a way of thinking contests dominant models of commissioning art to effect social change. A method of generative metaphor of critical distance emerges through four projects based on a contextual and theoretical framework that tests the conditions for recognising cultural democracy as a critical practice. Cultural democracy is distinct from the democratisation of culture, which means providing free, accessible professional culture to all. The socially engaged art commission is, I argue, an example of the democratisation of culture based on predefined economic, aesthetic and social values. Cultural democracy disrupts expected forms of participation and communication of culture, drawing attention to these values. As an uninvited act of disobedience, it is thought and practised as individuals reclaim the right to express themselves, creating conflicts with expected norms of behaviour. This research project began in 2006, nine years into New Labour's administration, and reflects an urgent question of the time: what are the implications of increasing dependency on a culture of commissioning art to effect social change that might perpetuate, rather than radically rethink, social injustices' These concerns are even more significant in a political and economic climate where public funding for critical, non-conformist participation in culture slips further down the agenda. My own career is a symptom of New Labour's neoliberal policies of social inclusion and the arts. A new period of 'austerity' may imply fewer paid opportunities for this professional class of socially engaged art workers, coupled with a distancing of the recognition of cultural democracy as a possible alternative, with further reliance on free, precarious cultural labour. For this reason, I hope this research will be of use to those who also find it an urgent task to address these issues critically and practically.

In African folklore, there is a Swahili tale which depicts the relationship between a monkey and a shark; a story about the needs of two creatures living in two different worlds. The shark needs the heart of the monkey to give to his king and the monkey agrees to go on the journey to learn and experience new things. Unaware of each other’s intentions and goals they fall prey to a relationship of mutual distrust and suspicion. Many opportunities to use art as a tool for social engagement through service-learning exist in Higher Education. However, good intentions do not always equal good outcomes. The story above illustrates the importance of open communication around goals and motives. My past experiences in community engagement projects have taught me that more harm than good can result when communities are not involved in relationship-building and decision-making processes which affect them. It is therefore imperative that students collaborate with communities in every phase of the engagement process, so that they will learn and benefit from each other in meaningful ways. This qualitative research explores and describes the engagement between Intermediate Phase education students and community youth, the findings of which will be used to design a service-learning module in Creative Arts. The aims of the study were (i) to explore what the students and the community participants can learn from such a process, (ii) to explore what aspects of the engagement process can enhance the attainment of mutually beneficial learning outcomes, and which detract from it, and (iii) based on the findings, to suggest recommendations that can inform the development and design of a future service-learning module in Creative Arts programmes for teacher educators. A qualitative design situated within a critical theoretical paradigm employing a participatory action research approach to inquiry was utilised to achieve the aims of the study. Availability sampling was used to select participants in the engagement between the campus students from the Creative Arts department in the faculty of Education Sciences at the North West University (NWU) Potchefstroom, and the community youths from a nearby township area. The data generation process consisted of four cycles which embraced seven interactive activities, including visual, oral, art, and text-based techniques that were employed in a participatory process. Semi-structured reflective interviews towards the end concluded the research study. Data documentation was obtained through verbatim transcriptions of video clips, visual diaries, and visual charts. The engagement process was systematically monitored, inductively analysed, and thematically interpreted. Trustworthiness was verified by overlapping and multiple data generation strategies, and maintained by reflective member checking and own critical reflections on the process. Ethical requirements included the approval of the Ethics Committee of the NWU Faculty of Educational Sciences, Potchefstroom campus. Signed consent of participants was obtained in writing before the data generation began. Consent was obtained from the participants for visual material to be used for the research study and the presentations thereof. Three themes emerged from the data collection. Theme 1: the process allowed participants to gain insight into each other’s worlds. Theme 2: the participatory action research (PAR) process shifted power relations. Theme 3: the participants experienced personal and professional development through the interactive process. My findings on the student-community youth engagement suggest that the participatory (PAR) process is well suited for socially engaged art-based practices in service-learning as it promotes reciprocal learning through interactive activities. The activities unlocked value-laden and meaningful learning between the participants. Working collaboratively and in groups benefitted the participants in several ways. They gained confidence and self-determination, began to understand each other, improved personal and working relations, and increased their level of professional development. Limiting aspects included language barriers, short time frames, and unpredictable community events. The role of the researcher as change agent required shared leadership of collaborative groupwork, and it was necessary to structure topics in service-learning that evoke challenging and critical responses between participants from diverse backgrounds. These findings have significance for the design and development of a service-learning module for Creative Arts education, provide recommendations for future community partnerships in art-based practices, and for further research in service-learning. / MEd (Curriculum Development), North-West University, Potchefstroom Campus, 2015

In African folklore, there is a Swahili tale which depicts the relationship between a monkey and a shark; a story about the needs of two creatures living in two different worlds. The shark needs the heart of the monkey to give to his king and the monkey agrees to go on the journey to learn and experience new things. Unaware of each other’s intentions and goals they fall prey to a relationship of mutual distrust and suspicion. Many opportunities to use art as a tool for social engagement through service-learning exist in Higher Education. However, good intentions do not always equal good outcomes. The story above illustrates the importance of open communication around goals and motives. My past experiences in community engagement projects have taught me that more harm than good can result when communities are not involved in relationship-building and decision-making processes which affect them. It is therefore imperative that students collaborate with communities in every phase of the engagement process, so that they will learn and benefit from each other in meaningful ways. This qualitative research explores and describes the engagement between Intermediate Phase education students and community youth, the findings of which will be used to design a service-learning module in Creative Arts. The aims of the study were (i) to explore what the students and the community participants can learn from such a process, (ii) to explore what aspects of the engagement process can enhance the attainment of mutually beneficial learning outcomes, and which detract from it, and (iii) based on the findings, to suggest recommendations that can inform the development and design of a future service-learning module in Creative Arts programmes for teacher educators. A qualitative design situated within a critical theoretical paradigm employing a participatory action research approach to inquiry was utilised to achieve the aims of the study. Availability sampling was used to select participants in the engagement between the campus students from the Creative Arts department in the faculty of Education Sciences at the North West University (NWU) Potchefstroom, and the community youths from a nearby township area. The data generation process consisted of four cycles which embraced seven interactive activities, including visual, oral, art, and text-based techniques that were employed in a participatory process. Semi-structured reflective interviews towards the end concluded the research study. Data documentation was obtained through verbatim transcriptions of video clips, visual diaries, and visual charts. The engagement process was systematically monitored, inductively analysed, and thematically interpreted. Trustworthiness was verified by overlapping and multiple data generation strategies, and maintained by reflective member checking and own critical reflections on the process. Ethical requirements included the approval of the Ethics Committee of the NWU Faculty of Educational Sciences, Potchefstroom campus. Signed consent of participants was obtained in writing before the data generation began. Consent was obtained from the participants for visual material to be used for the research study and the presentations thereof. Three themes emerged from the data collection. Theme 1: the process allowed participants to gain insight into each other’s worlds. Theme 2: the participatory action research (PAR) process shifted power relations. Theme 3: the participants experienced personal and professional development through the interactive process. My findings on the student-community youth engagement suggest that the participatory (PAR) process is well suited for socially engaged art-based practices in service-learning as it promotes reciprocal learning through interactive activities. The activities unlocked value-laden and meaningful learning between the participants. Working collaboratively and in groups benefitted the participants in several ways. They gained confidence and self-determination, began to understand each other, improved personal and working relations, and increased their level of professional development. Limiting aspects included language barriers, short time frames, and unpredictable community events. The role of the researcher as change agent required shared leadership of collaborative groupwork, and it was necessary to structure topics in service-learning that evoke challenging and critical responses between participants from diverse backgrounds. These findings have significance for the design and development of a service-learning module for Creative Arts education, provide recommendations for future community partnerships in art-based practices, and for further research in service-learning. / MEd (Curriculum Development), North-West University, Potchefstroom Campus, 2015

The aim of this this diploma thesis is to explore the relationship between the art galleries and the public. The key focus is to analyze indispensable approaches galleries should employ in order to survive on the cultural market. Firstly, the thesis discusses the economic aspects with the particular focus on the value added to the management and marketing of galleries. The next part deals with the social aspects. In addition to the gallery visitors and the influence of gallery interior on the visitor, the division of art on commercial and non-commercial sphere is explored. Furthermore, the term "socially engaged art" will be specified. The final discussion then shows the previous research by presenting practical examples to illustrate the importance of the issue, particularly focusing on the Egon Schiele Art Center in Český Krumlov.

nÃo hà / Com a presente tese de doutoramento, analiso as interfaces entre o movimento intelectual, polÃtico, artÃstico e cultural internacional e seus desdobramentos no Brasil, especificamente, na cidade de Fortaleza, entre os anos de 1960 e 1970. AtravÃs da memÃria de alunos e professores, utilizando entrevistas orais, conheÃo as trajetÃrias individuais e coletivas que se tornaram roteiros de projetos artÃsticos e culturais e envolveram seus autores em leituras e experiÃncias culturais e educacionais suscitadas por movimentos ideolÃgicos intelectuais. Dessa forma, procuro entender como as experiÃncias e a formaÃÃo de alunos e professores nas instituiÃÃes de ensino (escolas e universidade) acabaram influenciando o processo educativo e artÃstico de alunos e professores nos anos de 1960 e 1970 e a inserÃÃo desses âartistasâ na indÃstria cultural nos anos de 1970. A partir da prosopografia, busco entender essas trajetÃrias, suas prÃticas educativas (o saber formal), suas experiÃncias na articulaÃÃo polÃtica e na arte, especialmente, no teatro e na mÃsica, como produtoras de um saber que dava sentido à vida, numa cidade como Fortaleza, sem muita infraestrutura. Apesar disso lhes proporcionava determinados lugares para essas manifestaÃÃes, que ocorriam entre lares, bares e a Universidade Federal do CearÃ, a Ãpoca, a grande potencializadora do conhecimento no CearÃ, por meio de debates, de encontros e de exposiÃÃo da produÃÃo artÃstica, unindo o conhecimento formal e o informal com outros centros universitÃrios como UFPE, UFPB, UFPI, UFRN, UNB e USP, os quais se articulavam, refletiam e produziam sobre a realidade local e nacional. Essas experiÃncias e discussÃes polÃticas e culturais nas instituiÃÃes de ensino secundÃrio, na Universidade, no ISEB (Instituto Superior de Estudos Brasileiros) no MCP (Movimento de Cultura Popular), no MEB (Movimento de EducaÃÃo de Base) e no CPC (Centro Popular de Cultura), que discutiam Paulo Freire e suas propostas educacionais, aproximaram intelectuais, professores e artistas ligados a estas instituiÃÃes, almejando instrumentalizar politicamente uma memÃria nacional âengajadaâ, demarcando a antinomia sobre o nacional e o popular na cultura brasileira em torno da mudanÃa de comportamento polÃtico, educacional, cultural e estÃtico dos jovens. Por outro lado, com o golpe civil-militar de 1964, muitos desses sujeitos seguem caminhos distintos: alguns se engajam na luta armada, outros se aproximam da seguranÃa do emprego e do salÃrio como professores na Universidade, outros enveredam nas artes cÃnicas, nas artes plÃsticas e alguns se tornam artistas conhecidos, conseguindo espaÃo, com suas mÃsicas, no difÃcil mercado da indÃstria fonogrÃfica. A exegese das reminiscÃncias, à Ãpoca, de estudantes, professores artistas, fornece elementos importantes para reflexÃo e entendimento das transformaÃÃes socioculturais e educativas nos anos de 1960 e 1970 do sÃculo XX na cidade de Fortaleza.

Reading the book Perform or Else by Jon Mckenzie along with the social distancing, isolation, and all the ongoing challenging and forced experiences of the 2020-21 Covid-19 pandemic era, on one hand, and my interests in performance art and physicality, on the other hand, made me think how can I create a work that represents an image of the body, the concept of action, and the idea of togetherness which are all essential for performance art, and/or for any performance. All art disciplines combine theory and practice in order to depict the relationship between bodies, art, and education, and as history proves, theory is always intended to be put into practice. The theoretical and practical in this written thesis begins with its title This Is Not a Thesis; continues by furthering the idea of Perform or Else, asking instead Thesis or Else; and goes on to serve its purpose of being a theoretical concern, a narrative, a genre in and of itself, an exercise in authorship, and furthermore, function as a documentation of documentation of my art – performance – practice. The series of written pieces, performances (rejected proposals), and images (documents) compiled here are meant to create a space between authorship and performance art. This Is Not a Thesis demonstrates the rejection and acceptance of the same thing at the same time.

This diploma thesis is focused on engaged art in the Prague public space after 2000. The theoretical part deals with the characteristics of engaged art and artivism and places them in the context of civil society. It describes the participants dealing with engaged art in Prague after 2000, the topics of the participant's interventions and the tactics they use for their implementation. The empirical part offers, based on biographical research and ethnography, an perspective of the participants. It describes their motivations leading to the creation of interventions, their relationship to public space and to the audience. Work deals with the goals of their activities and focuses on their own concept of success. Last but not least, the thesis is focused on the political orientation of the participants. The thesis thus provides a comprehensive view of contemporary engaged art and pursues on its important role in our society.

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