This study considers the development of the children's services within the Community Arts Council in relation to arts programs for children in the City of Vancouver. The changing emphasis of the program from 1947 to 1954 is examined through the records of sponsored classes, the minutes of meetings and interviews with class leaders, agency directors and class participants. The changing philosophy of the artist in the practice of his profession and the increased interest in the development of art programs for children in leisure-time settings has brought the artists and the recreation leaders together. Within the recreation field, the use of the social work method and the demand for the fulfilment of the social agencies' objectives through program have strained relationships between the artist and program staff. As the community agency establishes its role in the sponsorship of arts programs the agency adopts a responsibility for understanding the objectives and methods of the artist, who in turn must accept the philosophy and objectives of the agency. The Community Arts Council has demonstrated the need for mutual effort if the objectives of both are to be realized for the benefit of the child. The Children's Program project clarifies the factors which have disturbed the effective use of art specialists in the agencies. It also indicates the possibility of future development within the Community Arts Council to further co-operative planning to ensure sufficient skilled leadership and standards for cultural services. / Arts, Faculty of / Social Work, School of / Graduate

published_or_final_version / Sociology / Doctoral / Doctor of Philosophy

Thesis (M.A.)--Ohio University, June, 2007. / Title from PDF t.p. Includes bibliographical references.

This thesis is submitted to the Faculty of Humanities, University of Witwatersrand, in fulfilment of the requirements for the degree of Master of Arts in Arts and Culture Management by dissertation, 2016 / This study looks into the artistic strategies employed by the Inner-City High Schools Drama Festival to promote an appreciation for arts and culture programmes in inner-city high schools and beyond, and, by extension, reflects on how the festival impacts on participants’ perceptions of Hillbrow as home. Through an analysis of South African art historian Lize van Robbroeck’s conceptual framework of community arts centres, this case study unpacks how site specificities of the centre being in Hillbrow, starts to debunk what has become a widely understood framework of arts centres as inherently pro-marginal, thereby associated with ‘blackness’, both during apartheid and post-apartheid. Qualitative methods such as semi-structured interviews with the Hillbrow Theatre Project staff, facilitators and school teachers, focus group discussions with school-goers, letters and organisational documents have therefore been used in order to get a deeper understanding of the workings of the Outreach Foundation as a centre and its artistic programme under the Hillbrow Theatre Project called the Inner-City High Schools Drama Festival. The study reveals that the artistic strategies employed by the Inner-City High Schools Drama Festival are effective in promoting an appreciation for an arts and culture programme, and it further shows that the festival can indeed effect some measure of change in participants’ attitudes about Hillbrow as home. / GR2017

The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia. As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities. Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country. Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.

Thesis (Ph. D.)--University of California, Santa Cruz, 1995. / Typescript. Includes bibliographical references (leaves 342-352).

Thesis (MTech (Design)--Cape Peninsula University of Technology, 2016. / The research was motivated by my lived experience in the Olifants River community of Namaqualand. In this community there are many diverse ethnic and social groupings with considerable potential to contribute to indigenous knowledge and creative practices. These groupings are, however, fragmented, with no platform for their varied and rich cultural assets to be displayed and acknowledged. In addition, the research was motivated by the call for a platform for the arts in the region. It is argued that visual art practice is an instrumental tool in the advancement of both creativity and social cohesion in this community. The research commenced with a pilot study, comprising workshops, which were run by art practitioners from various sectors in the region. Primary literature that influenced the emerging research design was that of Solomon (2007) as well as the holistic cultural viewpoints of Schafer (2014). The organic process of qualitative research methods as described by Ellingson (2009) was a natural personal directive. Body mapping was used during a preparatory phase that led to the creative exploration of community members’ own identity. Storytelling and dance were included in the design methodology since they enabled a psychosocial process of validating art practice as an economic asset within the community as well as enhancing social cohesion in the community. Crystallisation methods implemented in the process-driven body map workshops were held for grassroots -, town – and township sectors in the Olifants River valley. Each of the workshops comprised ten participants who were invited to participate in a subsequent do-designed collaborative event.

M.Tech. / This research project explores the use of visual arts-based methodologies as tools to create exposure, increase sales of products and enhance social networks for a small craft enterprise called Kutloano Papermaking. Visual strategies of Photovoice, resource mapping and mural-making have been widely used in different contexts. This research considers the benefit of combining these three tools in a series of interventions with participants from Kutloano Papermaking and Thabong township of Welkom, Free State Province, South Africa. This project emerges out of a multi-year research activity, Cultural Action for Change: a Ford Foundation-funded project investigating the role of visual arts and social change. The partnership between the University of Johannesburg, Artist Proof Studio, Phumani Paper and sixteen papermaking enterprises across South Africa uses visual tools such as Paper Prayers, Photovoice and resource mapping to explore issues of health, economic development and creativity. My research expands on the work of Cultural Action for Change, building on the successes of Photovoice and resource mapping. Participatory Action Research (PAR) principles of collaboration, participation, action and dialogue underpin this research project. PAR as the framework of this research attempts to create an environment of horizontal knowledge creation and sharing. Findings from this research demonstrate that culture can awaken the spiritual, material and emotional well-being of individuals and communities. This research supports the role of the arts in contributing to economic action and organizing communities that are socially and economically marginalised.

No description available.

The expression "sense of place" has been used to describe the relationship between a natural or built environment and the people who inhabit or perceive that environment. This relationship involves the qualities or attributes which give a place its own particular character, as well as the identification and association that people give to a place. Aspects of Tucson's current sense of place are explored in this study by examining the perceptions of Tucson's accepted symbols and attributes held by persons involved with the planned downtown Arts District. The current quality of Tucson's sense of place was found to be most strongly reflected in the Sonoran Desert Environment, the city's ethnic and cultural history, and the urbanism of the revitalizing Central Business District. The content of Tucson's characteristic attributes was used to suggest design opportunities useful in enhancing the sense of place in the planned downtown Arts District.