CASTRO, Wagner José Silva de. Intelectuais, professores e artistas: práticas educativas, arte engajada e o massafeira livre (1955-1981). 2014. 257f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-08T14:55:20Z No. of bitstreams: 1 2014_tese_wjscastro.pdf: 3673453 bytes, checksum: 2e3657dbb3d22333d855f50ddcc6f533 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:34:38Z (GMT) No. of bitstreams: 1 2014_tese_wjscastro.pdf: 3673453 bytes, checksum: 2e3657dbb3d22333d855f50ddcc6f533 (MD5) / Made available in DSpace on 2014-08-08T17:34:38Z (GMT). No. of bitstreams: 1 2014_tese_wjscastro.pdf: 3673453 bytes, checksum: 2e3657dbb3d22333d855f50ddcc6f533 (MD5) Previous issue date: 2014 / Com a presente tese de doutoramento, analiso as interfaces entre o movimento intelectual, político, artístico e cultural internacional e seus desdobramentos no Brasil, especificamente, na cidade de Fortaleza, entre os anos de 1960 e 1970. Através da memória de alunos e professores, utilizando entrevistas orais, conheço as trajetórias individuais e coletivas que se tornaram roteiros de projetos artísticos e culturais e envolveram seus autores em leituras e experiências culturais e educacionais suscitadas por movimentos ideológicos intelectuais. Dessa forma, procuro entender como as experiências e a formação de alunos e professores nas instituições de ensino (escolas e universidade) acabaram influenciando o processo educativo e artístico de alunos e professores nos anos de 1960 e 1970 e a inserção desses “artistas” na indústria cultural nos anos de 1970. A partir da prosopografia, busco entender essas trajetórias, suas práticas educativas (o saber formal), suas experiências na articulação política e na arte, especialmente, no teatro e na música, 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 manifestações, que ocorriam entre lares, bares e a Universidade Federal do Ceará, a época, a grande potencializadora do conhecimento no Ceará, por meio de debates, de encontros e de exposição da produção artística, unindo o conhecimento formal e o informal com outros centros universitários como UFPE, UFPB, UFPI, UFRN, UNB e USP, os quais se articulavam, refletiam e produziam sobre a realidade local e nacional. Essas experiências e discussões políticas e culturais nas instituições de ensino secundário, na Universidade, no ISEB (Instituto Superior de Estudos Brasileiros) no MCP (Movimento de Cultura Popular), no MEB (Movimento de Educação 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 instituições, almejando instrumentalizar politicamente uma memória nacional “engajada”, demarcando a antinomia sobre o nacional e o popular na cultura brasileira em torno da mudança de comportamento político, educacional, cultural e estético 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 segurança do emprego e do salário como professores na Universidade, outros enveredam nas artes cênicas, nas artes plásticas e alguns se tornam artistas conhecidos, conseguindo espaço, com suas músicas, no difícil mercado da indústria fonográfica. A exegese das reminiscências, à época, de estudantes, professores artistas, fornece elementos importantes para reflexão e entendimento das transformações socioculturais e educativas nos anos de 1960 e 1970 do século XX na cidade de Fortaleza.

This thesis analyzes the decade-long collaboration between The Silent University and Tensta konsthall, investigating its role as a lasting, solidarity driven, educational, socially engaged art project within an art institution. Utilizing qualitative methods and institutional ethnography, the study examines the relationship between The Silent University within Tensta konsthall. The research uses three guiding questions: 1) How can The Silent University and its integration into Tensta konsthall be interpreted as a socially engaged, transformative, and performative artwork?; 2) How has the implementation of The Silent University at Tensta konsthall evolved since its inception?; 3) What is the current status of The Silent University as a socially engaged project and artwork within the context of Tensta konsthall? The first question is answered by employing Umberto Eco's concept of "open" works and Claire Bishop's analysis of socially engaged art and uses secondary sources as material. The second question is approached through interviews with Fahyma Alnablsi and Emily Fahlén. Drawing from Michel de Certeau’s concepts of "tactics" and "strategies," as well as Sara Ahmed's notions of the "stranger" and community building, the second chapter explores the project's evolving dynamics and potential tensions since its establishment. In response to the third question, the discussion synthesizes The Silent University's journey at Tensta konsthall, underscoring its evolution and present condition. Findings highlight The Silent University's classification as an "open" and transformative artwork. It has transitioned from a primarily educational focus to a more socially engaged approach within the framework of Tensta konsthall. The project's sustainability is closely intertwined with Alnablsi’s involvement and engagement, thus posing both a strength and a challenge. In essence, this thesis dissects The Silent University's role within Tensta konsthall, delving into its transformative artistic, educational, and social facets, thereby contributing to a deeper understanding of the interplay between socially engaged art, institutions, and community dynamics.

L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle. / The present thesis aims to understand how audience and critical reception of politically and socially engaged art exhibitions articulates itself in the museum context in Quebec. In order to do so, two case studies will be examined: Art et féminisme (1982) and Pour la suite du Monde (1992). Within the scope of this thesis, a thorough study will be facilitated by selecting exhibitions which took place in a single institution, the Musée d’art contemporain de Montréal. Before directly addressing reception and in order to better define the artistic and theoretical context of the 1980’s and 1990’s, the first chapter will be dedicated to the different theories and practices regarding exhibitions as they were developed in that period. As such, the work of exhibition practitioners and theorists Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich and Michel Pollak, as well as Daniel Buren, will be summarised. The second and third chapters will exclusively address the Art et féminisme and Pour la suite du Monde exhibitions. While their reception will be examined, the specific conceptual and socio-historical context in which they were deployed will be detailed. The aim of this exercise is to fully comprehend the way in which an exhibition enunciates its subject matter when the latter is closely linked to its political, cultural and institutional reality.

L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle. / The present thesis aims to understand how audience and critical reception of politically and socially engaged art exhibitions articulates itself in the museum context in Quebec. In order to do so, two case studies will be examined: Art et féminisme (1982) and Pour la suite du Monde (1992). Within the scope of this thesis, a thorough study will be facilitated by selecting exhibitions which took place in a single institution, the Musée d’art contemporain de Montréal. Before directly addressing reception and in order to better define the artistic and theoretical context of the 1980’s and 1990’s, the first chapter will be dedicated to the different theories and practices regarding exhibitions as they were developed in that period. As such, the work of exhibition practitioners and theorists Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich and Michel Pollak, as well as Daniel Buren, will be summarised. The second and third chapters will exclusively address the Art et féminisme and Pour la suite du Monde exhibitions. While their reception will be examined, the specific conceptual and socio-historical context in which they were deployed will be detailed. The aim of this exercise is to fully comprehend the way in which an exhibition enunciates its subject matter when the latter is closely linked to its political, cultural and institutional reality.

No description available.

The access to technology, the effects of instant information and the emergence of an increasingly empowered global citizen have contributed to the fundamental shift of the global political and economic landscape over the last twenty years. In consequence, the soft-power resources are becoming more and more important components of nation's foreign policy. Foreign policy instruments of public diplomacy and cultural diplomacy can effectively utilize such soft-power resources in order to assert foreign policy goals by purposefully supporting wide range of cultural and artistic activities. It is the aim of the thesis to examine both the direct and indirect impacts of artistic production on societies with various degrees of democratic culture and in connection to elaborate on the relevance of the right to freedom of artistic expression and creativity. The essential aim of this thesis is to look at the role that art production plays in the development of a democratic society.

This research started as a quest to understand better the ethics of doing Theatre for Development/Applied Theatre with under-served, marginalized and vulnerable populations especially in post-conflict zones in the Global South. As a theatre practitioner-researcher from Africa who has lived and worked in post-conflict zones, I was interested in fostering appropriate ethical protocols for arts-based practices for social engagement, advocacy and social justice. Thus, in this dissertation, I focus on two concepts in applied theatre practice: participation and ethics. I examine how participation can be re-conceptualized in applied theatre practice and focus on the ethics around conducting research among vulnerable populations especially on refugees and internally displaced persons. On participation, I use existing case studies from various fields to argue that participation in community engagement and socially-engaged art practices can become a tool to reposition voices on the margin to the centre in order to unsettle centres of power. However, for this to happen, participation needs to engage a communicative action that is both epistemic and ontic in its approach. An epistemic discourse provides a way of seeing the world while an ontic discourse provides people with a way of being in the world. The former is a ‘theoretical’ discursive practice that is fundamentally epistemological, and the latter is an ‘embodied’ praxis that is fundamentally ontological. I examine the famous Ngugi wa Thiongo’s Kamiriithu Community Theatre project in Kenya and Michael Balfour et al’s refugee project in Australia to foreground this new thinking on verb-oriented and noun-oriented notions of participation. On ethics, I raise a series of critical questions around interventionist or humanitarian performances. It is hoped that these questions will deepen discourses in applied theatre practice and further challenge practitioners to rethink why we do what we do. Using narrative inquiry, I glean lessons from my field research facilitating drama workshop among secondary school students who have been internally displaced due to an ongoing socio-political crisis in Nigeria. I also reflect on my other applied theatre experiences in Canada and Sudan. I propose an ethical practice that is built on relational interaction. In the context of working in post-conflict zones or in places of war, I argue that precarity becomes a determining factor in framing the ethics of practice. The questions around ethics are raised to also draw attention to decolonizing ethical practices. Finally, I articulate the connection between participation and ethics in that participation becomes a tactic to ensure that applied theatre researchers/practitioners conduct their work in ethical ways. This is because through participation, concerned communities can challenge unethical practices and transform the research to create outcomes that are beneficial. Thus, as an example of reflective practitioner research, the projects in this dissertation offer opportunities to examine critically how participation has been conceptualized and the need for a decolonizing understanding towards ethics in applied theatre practice especially in post-conflict zones. / Graduate

The diploma thesis A Critical View of Selected Works by Kateřina Šedá focuses on the work of the contemporary Czech artist Kateřina Šedá, an icon of socially engaged art in the Czech Republic. The first part briefly outlines the development and transformation of the approach to the audience in theatrical and fine arts during 20th century with regard to the growing effort to activation. The following chapter deals with the theoretical beginnings of socially engaged art. The main part of the work presents the work of Kateřina Šedá, which includes beside the description of selected projects also a theoretical analysis in relation to contemporary phenomena and movements occurring in contemporary art. Great emphasis is placed on the contextual framework, because without the knowledge of it, the study of contemporary artistic trends cannot be done.

No description available.

Le hasard m’a permis de faire des belles découvertes. La beauté particulière des câbles électriques et leur potentiel plastiques ont ainsi éclairé mon parcours artistique. J’ai fait le choix du câble comme matière première de mon œuvre depuis 1999. Une technique artisanale celle du Crochet, en lien avec la tapisserie contemporaine met l’accent sur l’idée de la connectivité et le tissage des liens sociaux par un seul fil continu sans coupure. Je cherche une transgression de cette pratique au profit d'une compréhension plus large de ce qu’elle représente. Par la répétition gestuelle qui m’a permis de conduire à une forme de ritualisation de ma technique, je passe par une phase de conscience où la perception devient plus aiguisée. Ma pratique est devenue une forme d’existence, d'amélioration et de soulagement pour arriver au constat d’un effet magique qui délivre le corps par une spiritualité. C’est aussi une forme de connectivité, d’échange avec des plasticiens qui ont agrandi mon univers. Par le travail sériel, monochrome (noir) et une analyse épistémologique, je suggère un mé-tissage de certaines disciplines, une forme d’hybridation entre un univers cosmologique, mathématique et physique. Mon corps devient un fil conducteur dessine dans l’espace externe mon intériorité par des vidéos performatives et expressives. Je fais là l’expérience d'une contiguïté issue en réalité de la continuité du fil. Cet espace interne et fusionnel, où je fais l'expérience de mon corps en relation avec le fil continu, revêt souvent une dimension imaginaire, auquel s'ajoute un espace externe, celui de la représentation et de la mise à distance dans le monde physique de mon œuvre. / Chance has allowed me to make beautiful discoveries. The particular beauty of the electric cables and their plastic potential have thus illuminated my artistic career. I made the choice of cable as raw material of my work since 1999. A traditional technique, that of Crochet, in connection with contemporary tapestry emphasizes the idea of connectivity and the weaving of social links by a single continuous thread, an unbroken thread. But I seek a transgression of this practice in favor of a broader understanding of what it represents. By the gestural repetition that allowed me to lead to a form of ritualization of my technique, I go through a phase of consciousness where the perception becomes more acute. My practice has become a form of existence, improvement, and relief to come to the realization of a magical effect, which delivers the body spiritually. It is also a form of connectivity, of exchange with several artists of which I made the collection carefully and which enlarged my universe, then by the serial work, monochrome (black) and an epistemological analysis, I suggest a " miscegenation" of certain disciplines in my work, a form of hybridization between a cosmological universe, mathematical and physical are interlaced. My body becomes a drawing thread in the external space, my interiority by performative and expressive videos. I am experiencing an adjacency that actually comes from the continuity of the thread. This internal and fusional space, where I experience my body in relation to the continuous thread, often takes on an imaginary dimension, to which is added an external space, that of representation and distancing in the physical world of my work.