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.

Undersökningens syfte har varit att skina ljus på porträttering och urval. Närmare bestämt inom området för den samiska musikkulturen och via mediaframställningen av en samisk artist i Jills veranda. Genom ett utvalt program ur serien där den samiska artisten Maxida Märak medverkar genomförs detta. Sett utifrån sin omnämning som samisk artist i-och i anslutning till programmet står Märak och den förmedlade bilden av henne i fokus för undersökningen av hur det samiska framhävs. Genom att undersöka både det klingande och hur man pratar om musiken förs urvalen fram. Dessa utgör innehållet för hur den samiska artisten representeras. Undersökningen har vidare genomförts utifrån teorin om immateriella kulturarv. I den immateriella kulturarvsprocessens faser beskrivs hur uppmärksammade ”företeelser väljs ut och ges särskild status som symboler för en kultur”.[1] Teorin innehåller ett stort fokus på värdetillskrivning utifrån rådande sociala normer och vad som tillskrivs symboliskt värde värderas människor emellan. Undersökningen visade att Märak i Jills veranda porträtterades på ett sätt som till viss del bekräftade tidigare normbaserade stereotyper som framkom i undersökningen, så som jojkens stora roll och den etniska sammankopplingen till musiken. Därtill påverkade artisten både genom att bekräfta såväl som motarbeta normerna genom hur hon framställde sin musik i både utövande och i dialog. Motarbetandet av normer framgick som en röd tråd i artistens intention bakom musiken. Musiken framkom också ha ett funktionellt syfte, då musiken i avsnittet tycks användas för att motarbeta och i tillägg också återta makten över definitionen av vad som är samiskt. Utifrån detta framkom den politiska kampen som ett essentiellt innehåll i hur artisten i programmet framställer sin musik. Slutligen präglades hela produktionen av olika urfolksgrupper som sammanlänkades genom sin musik vilket ytterligare framhöll musiken som en gemensam symbol över landsgränser.

This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

No description available.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-08T16:35:58Z No. of bitstreams: 1 LUCILVANA FERREIRA BARROS - DISSERTAÇÃO PPGH 2013..pdf: 8423584 bytes, checksum: 4f633208132cd312822faf8986171b2d (MD5) / Made available in DSpace on 2018-10-08T16:35:58Z (GMT). No. of bitstreams: 1 LUCILVANA FERREIRA BARROS - DISSERTAÇÃO PPGH 2013..pdf: 8423584 bytes, checksum: 4f633208132cd312822faf8986171b2d (MD5) Previous issue date: 2013-03-26 / Capes / Este trabalho analisa como emergiu nas últimas décadas do século XX e início do XXI na cidade de Alagoa Grande/PB, e no Estado da Paraíba, um jogo de imagens e discursos responsáveis pela construção do cantor e compositor paraibano José Gomes Filho, o Jackson do Pandeiro, em um Artista-monumento da cultura local. Investiga as condições de possibilidades por meio das quais a Paraíba e a cidade natal do músico, imersas em um movimento de revalorização das culturas locais, reacionam a imagem de Rei do ritmo atribuído a Jackson transforma-o em um monumento da música paraibana, uma escola a ser seguida pelos músicos das futuras gerações. Assim, partindo da perspectiva arqueogenealógica proposta por Foucault (2003; 2012) em verificar como se dá, através da história, a constituição de um sujeito que não é dado definitivamente, pronto e acabado, mas que se constitui no interior da própria história, e que é constantemente, a cada instante, fundado, refundado ou mesmo reelaborado dentro dela, decompõem-se as linhas de agenciamentos que foram responsáveis por construí-lo tal qual o conhecemos no tempo presente: um monumento da música/ cultura paraibana. Deste modo, analisando os vários fios discursivos responsáveis por construí-lo a partir desta ótica, observamos que estes emergiram em meio a duas temporalidades distintas: nas décadas de 50 e 60, auge de sua carreira, e na década de 80, quando a sua história começou a ser escrita novamente tendo como função servir como meio de promover um "resgate" do passado, de manutenção de uma cultural musical tida como autêntica/verdadeira do Estado/região, ameaçada pela poética da desestabilização cultural engendrada em finais do século XX e início do XXI. Assim, investigando a paisagem cultural de reavivamento de suas memórias no cenário paraibano pós década de 80, foram analisados jornais, revistas, entrevistas, homenagens, e uma biografia "Jackson do Pandeiro Rei do Ritmo", lançada pela Editora 34 em 2001. No que concerne à cidade natal do músico, analisou-se a construção de Jackson do Pandeiro enquanto um Artista-monumento desta espacialidade, cartografando o movimento por meio do qual a administração municipal, vem buscando trazer visibilidade para a cidade por meio da imagem do músico, como se pôde observar em 2008 com a construção de um pórtico em forma de pandeiro na entrada da cidade com uma placa em suas proximidades contendo as frases: "Alagoa Grande: terra de Jackson do Pandeiro", e a inauguração do "Memorial Jackson do Pandeiro" em dezembro de 2008. Investigaram-se também o conjunto de artesanatos presentes no "I Salão do Artesão de Alagoa Grande Mãos Jacksonianas", um amálgama de objetos e imagens que partindo dos interesses comerciais e turísticos do município apropriam-se da imagem do artista para promoção da cultura local, demonstrando que o trabalho de reativação da imagem do músico no município também partiu de um desejo turístico- comercial para a promoção da cultura local. Por fim, analisou-se como estes discursos foram recebidos pelos cidadãos locais, a forma como tais moradores foram subjetivados pelo arquivo de imagens e discursos construído e publicizado nos últimos anos nesta espacialidade, observando que existe na cidade uma batalha de memórias acerca do ritmista, pois para além da imagem do Cidadão-monumento elaborada para o mesmo existe no município uma memória dissidente que quebra a imagem "hegemônica" do artista no local, uma memória "proibida"/ "clandestina", que inventa outros discursos acerca deste, atribuem-lhe outra imagem, outro corpo, outra identidade fora dos moldes construídos pela memória oficial. / This work analyzes as emerged in the last few decades of the century XX and beginning of the XXI in Alagoa Grande/ PB city, a game of images and responsible discourses for the construction of the Paraiban singer and composer José Gomes Filho, the "Jackson do Pandeiro", in an Artist-monument of the local culture. It investigates the conditions of possibilities through which the Paraíba and the hometown of the musician involved in a movement of revaluation of the local cultures, react the image of King of the rhythm attributed to Jackson transforms him in a monument of the Paraiban music, a school to be followed for the musicians of the future generations. Thus, based about the perspective archaeo-genealogical offered by Foucault (2012; 2003) to verify like is, through the history, the constitution of a subject that isn't definitely readymade and finished but that constitutes in the inner of the own history, and that is constantly, to each moment founded, refounded or reworked within itself, decomposes the lines of agency that were responsible to construct himself such what the know in the present tense: a monument of the music/ Paraiban culture. Thereby, analyzing some discursive clews responsible to construct itself based in this view, we observe that these emerged through two temporalities: in the 50s and 60s, climax of his career, and in the 80s, when his history started to be writing again been as function to promote a "rescue" of the past, support of a cultural musical been as authentic/ true of the state/region, threatened for the poetic of the cultural destabilization engendered at the end of the century XX and at the beginning of the XXI. Thus, investigating the cultural landscape of revival of his memories in the scene of Paraíba post decade of 80, were analyzed newspapers, magazines, interviews, homages, and a biography "Jackson do Pandeiro King of the Rhythm", cast for the publishing company 34 in 2001. This regards to hometown of the musician, analyzed the construction of "Jackson do Pandeiro" while an Artistmonument of this spatiality, mapping the movement through what the municipal administration, seeking to bring sight to the city over the image of the musician, as we can observe in 2008 with the construction of a gateway in form of tambourine in the entrance of the city with a sign having this sentence: "Alagoa Grande: land of Jackson do Pandeiro", and the inauguration of the "Memorial Jackson do Pandeiro" in December, 2008. Investigated also the conjunct of handicraft in the "I Hall of Artisan from Alagoa Grande - Jacksonianas Hands", an amalgam of objects and images that were based in commercial interests and tourism of the municipality appropriate of the image of artist to promotion of the local culture, showing that the work of reactivation of the image of the musician in the municipality it also based of a desire commercial-tourism to the promotion of the local culture. At last, analyzed as these discourses were received for the local citizens, the form as the inhabitants were subjective for the file of images and discourses constructed and publicized in the last few years in this spatiality, observing that there is in the city a battle of memories about the played rhythm, for above the image of the citizen-monument elaborated to the same, there is in the municipality a dissident memory that breaks the "hegemonic" image of the artist in the place, a "prohibited memory'7 "clandestine", that it invents another discourses about this, attributes another image, another body, another identity out of the molds constructed for the official memory.

This dissertation introduces contemporary circus as a type of dramatic art. The work thus provides a basic framework for the analysis of contemporary circus and suggests a terminology for the designation of its specific traits. This terminology is derived first and foremost from the Czech theatre studies environment. The theoretical delineation of contemporary circus stems from selected theses from Otakar Zich's The Aesthetics of Dramatic Art and Erika Fischer-Lichte's The Transformative Power of Performance: A New Aesthetics. Contemporary circus, which is depicted as belonging to several discourses - historical, aesthetic, cultural policy and pedagogical, is described from a formal as well as content-focused point of view in order to best point out how the circus element changes and takes on meaning in relation to its theatrical counterpart. The thesis is subdivided into five parts. The introduction outlines the key theme, goals and methodology as well as terminology and theories which provide the work with a suitable point of departure. The Contemporary and Traditional Circus chapter describes the history and development of traditional as well as contemporary circus in selected countries (France, Canada, USA, Scandinavia) which are considered significant within the context of circus arts...

Dès la fin du XIXe siècle, la Lebensreform (« réforme de vie ») recouvre trois aspects qui sont la modernité (ère industrielle), la crise des valeurs et l'émergence de nouvelles pratiques artistiques, culturelles et sociales dans les pays de l'espace germanophone. La Lebensreform est une réponse aux ruptures de la modernité ; de nouvelles formes de vie collectives voient le jour. Les espaces d'accueil fondent leur propre mode de vie autour du programme d'une réconciliation avec la nature, en adoptant plusieurs réformes de la vie. Parallèlement, l'Inde artistique et spirituelle évolue et influence l'art moderne occidental, d'où l'apparition de passerelles transculturelles. Les artistes de la Lebensreform adoptent de nouveaux modes d'expression corporelle qui s'inspirent de l'art indien (mudrâs, rythme, etc.). Il s'agit dans notre thèse d'aborder l' « esthétique du performatif » ; l’art de la danse moderne devient un mode de communication à part entière, c'est-à-dire un langage non verbal, traité sous l'angle du concept de performatif. L'art moderne, qui se développe dans l'espace germanophone, conduit à une nouvelle quête, celle d'une recherche de sa propre identité à travers l'exploration du mouvement. / From the end of the 19th century, the Lebensreform (Life reform) covers three aspects which are modernity (industrial era), crisis in values, and the emergence of new artistic, cultural and social practices in German-speaking countries. The Lebensreform is a response to the break with modernity; new collective lifestyles are born. Hosting places build their own lifestyle around a program of renewals and reconciliation with nature, adopting several reforms of life. At the same time, artistic and spriritual India evolved and influenced modern Western art from whence grew cross-cultural gateways and bridges. Artists from the Lebensreform adopted new corporal forms of expression inspired by Indian art (mudrâs, rythm, etc.). This thesis concerns itself with the « esthetic performative » with the knowledge that the art of modern dancing, viewed from the angle of the performative concept, may be said to have emerged as a global mode of communication, and a non verbal language. Modern art as developed in German-speaking community has also led to a new quest, a search for our own identity through an exploratory movement.

MACHADO, Gilberto Andrade. Calidoscópio: experiências de artistas-professores como eixo para uma história do ensino de artes plásticas em Fortaleza. 2008. 169 f. Tese (Doutorado em Educação) – Universidade Federal do Ceará. Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2008. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-07-04T16:37:50Z No. of bitstreams: 1 2008_Tese_GAMachado.pdf: 4814155 bytes, checksum: ef7fdc799ac09ae9d4ea99ebddf7560a (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-18T13:28:47Z (GMT) No. of bitstreams: 1 2008_Tese_GAMachado.pdf: 4814155 bytes, checksum: ef7fdc799ac09ae9d4ea99ebddf7560a (MD5) / Made available in DSpace on 2012-07-18T13:28:47Z (GMT). No. of bitstreams: 1 2008_Tese_GAMachado.pdf: 4814155 bytes, checksum: ef7fdc799ac09ae9d4ea99ebddf7560a (MD5) Previous issue date: 2008 / The objective of this paper is to trace the history of the teaching of plastic arts in Fortaleza, taking into account the experience of some plastic artists who became teachers. We have opted for a time span which starts with the creation of the Plastic Arts Society of Ceará (SCAP), and ends in 2005 with the graduation of the first plastic artists from a public institution in Fortaleza. Our main goal was to investigate the meaning the plastic artists conferred to their teaching experience. It was our interest to identify some of the venues for the vocational training of plastic artists in Fortaleza; to learn how these artists perceived the act of teaching/learning arts; how they dealt with family and personal expectations on the artistic career, especially, how other knowledge of his social and political practice have incorporated to the teaching activity. In order to reach such objectives, we made use of oral history as a methodological resource by interviewing ten artists whose narratives are the main axis that support our historiographic organization. These narratives allow us to know how the cities were in the period of study, the social-cultural opportunities to which they had access and the school context when the artists started as students. The eager wish for a career training school for plastic artists in Fortaleza has been suppressed for several generations since the 1950´s, but it has been carried out in the early 2000´s. In the meantime, several attempts for a school have been allocated in public and private institutions, with the participation of the most experienced artists who discussed a model for teaching arts. We got to the conclusion that the present challenge for the plastic arts schools is to set goals for the training of an artist, where the career through education is not compulsory. For this, it is essential that the plastic artist who wishes to become a teacher be guided to produce more consistent reflection on his aesthetic experience. Knowing how to articulate with managers, coordinators and other teachers at the formal school, perhaps is the greatest challenge for the artist who proposes to be a teacher. / Esta pesquisa tem como objetivo organizar uma história do ensino das artes plásticas em Fortaleza a partir da experiência de alguns artistas plásticos que se tornaram professores. Optamos por um recorte temporal que se inicia em 1944 com a criação da Sociedade Cearense de Artes Plásticas (SCAP), e termina em 2005 com a formatura dos primeiros artistas plásticos graduados numa instituição pública de Fortaleza. Nosso objetivo principal foi investigar o significado que os artistas plásticos conferiam às suas experiências docentes. Interessava-nos identificar alguns espaços de formação de artistas plásticos em Fortaleza; saber como esses artistas percebiam o ato de ensinar/aprender artes; como lidavam com as expectativas pessoais e familiares sobre a profissão artística, sobretudo, como outros saberes de sua práxis social e política se incorporavam à prática docente. Para alcançar tais objetivos, trabalhamos a história oral como recurso metodológico, entrevistando dez artistas cujas narrativas são o eixo principal que sustentam nossa organização historiográfica. Estas narrativas nos permitem conhecer como era a cidade no período estudado, as oportunidades socioculturais que lhes eram acessíveis e os contextos escolares nos quais os artistas se iniciaram como alunos. O desejo por uma escola de formação profissionalizante para artistas plásticos em Fortaleza foi acalentado por várias gerações desde a década de 1950, e se consolidou no início dos anos 2000. Nesse ínterim, várias tentativas de escola foram alocadas em instituições públicas e privadas com a participação de artistas mais experientes que discutiam um modelo de ensino de arte. Constatamos que o desafio atual para as escolas de artes plásticas é definir rumos para a formação do artista, nos quais a profissionalização via educação não seja compulsória. Para isso é fundamental que o artista plástico que deseja ser professor seja orientado para produzir reflexões mais consistentes sobre suas experiências estéticas. Saber articular tais experiências com os gerentes, coordenadores e demais professores da escola formal, talvez seja o maior desafio para o artista que se propõe a ser professor.

L’analyse de la réception critique des nouvelles formes d’art apparaissant dès la fin des années 1950 et se développant au cours des années 1960, en particulier dans le champ de la sculpture et des œuvres en trois dimensions, constitue le socle de notre réflexion. Celle-ci vise à mettre en lumière les profondes évolutions que connaissent les processus de conception et de production des œuvres en trois dimensions, chez des artistes que la réception critique « à chaud » puis l’histoire de l’art ont séparés en fonction de critères stylistiques : néo-dada, pop, minimal… L’observation de ces déplacements de la pratique, intégrant des matériaux et des modes de production industriels (ou résistant à ces derniers) offre une autre approche des enjeux de l’art de cette période, qui voit s’éloigner la figure archétypale et héroïque du sculpteur moderniste incarnée par David Smith, et s’élaborer la figure nouvelle de l’artiste « post-studio ». Parallèlement, apparaissent de nouveaux soutiens, institutionnels, financiers et surtout techniques, pour les artistes produisant des œuvres en trois dimensions et délégant tout ou partie de la fabrication à des sociétés industrielles. Un nouveau type d’entreprise voit le jour, spécialisé dans la fabrication d’œuvres en trois dimensions et de sculptures monumentales. Au début des années 1970, les nouveaux modes de fabrication expérimentés durant la décennie précédente sont parfaitement intégrés à l’économie générale de l’art. En proposer une forme d’archéologie afin d’en comprendre les motivations initiales vise à mieux penser les enjeux actuels des pratiques artistiques ayant recours à la fabrication déléguée / The analysis of the critical reception of the new forms of art appearing from the end of the 1950s and developing during the 1960s, especially in the field of sculpture and tridimensional works, constitutes the foundation of our thought. It aims at bringing to light the profound shifts in the conception and production processes of the works in three dimensions, made by artists separated by the critical reception then the art history according to stylistic criteria : Neo-Dada, Pop, Minimal, and so on. To observe these displacements of the art practice, integrating industrials materials and means of production (or resisting them) offers another approach of the art stakes in this period, which sees the archetypal and heroic figure of the modernist sculptor (embodied by David Smith) fading, and elaborating the new figure of the post-studio artist. At the same time, new supports (institutional, financial and especially technical) appear for the artists producing works in three dimensions and delegating all or any of the manufacturing to industrial companies. A new type of company, specialized in the manufacturing of works in three dimensions and monumental sculptures, is born. In the early 1970s, the new means of manufacturing experienced during the previous decade are perfectly integrated into the general economy of art. To propose a kind of archeology of these means in order to understand the initial motivations aims at a better thinking of the current stakes in the artistic practices turning to delegated manufacturing processes

Ce doctorat se penche sur les conditions d’émergence d’une figure de « l’artiste universitaire » aux États-Unis au lendemain de la Seconde Guerre mondiale. Il s’intéresse au contexte intellectuel et politique qui a accompagné ce changement radical de paradigme dans l’enseignement artistique américain et tente d’en observer les répercussions sur les modalités d’écriture d’une histoire de l’art dont les instances productrices sont elles-mêmes considérablement renouvelées. Accordant une place importante aux réformes de l’enseignement supérieur, cette thèse souligne le rôle instrumental de cette nouvelle figure dans la requalification de la recherche universitaire entre les années 1930 et 1960. Toutefois, loin d’être la simple conséquence d’aspirations politiques, l’artiste universitaire s’incarne dans des parcours hétérogènes ne partageant pas nécessairement les mêmes pratiques ou les mêmes objectifs. De manière convenue ou plus inattendue, nombre d’artistes dont le nom a été associé aux universités ont participé à une refonte des modalités de production des savoirs. Pourtant la reconnaissance de ces contributions individuelles s’est avérée beaucoup plus problématique que la célébration générique d’un nouvel art américain porté par des artistes « éduqués ». Aussi, cette thèse s’attache-t-elle à observer ces questions sous un angle épistémologique et à mettre ce déficit paradoxal de crédit académique en regard de pratiques contemporaines de l’histoire et de l’histoire de l’art. Ce dernier aspect est plus spécifiquement étudié à travers le parcours de Donald Judd et sa volonté d’opposer à l’idéalisme philosophique européen une pratique « réaliste » de l’histoire de l’art / This doctoral thesis explores the conditions in which the figure of the ‘academic artist’ emerged in the USA following World War II. The intellectual and political climate for radical change in the American visual arts educational paradigm is evidenced as are its repercussions on the profound renewal of agencies involved in art history production. Importance is given to reform in higher education and the instrumental role the academic artist played in redefining academic research between the 1930s and the 1960s. Such figures were far from being merely aspirational in political terms as is apparent in their range of trajectories, their practices and goals which did not necessarily coincide. Many artists, whose names were associated with academia, contributed – some conventionally, others less predictably – to new ways of producing knowledge. Yet recognizing such individual contributions posed many more problems than the more generic celebration of the new American art personified by “educated” artists. My dissertation therefore views these issues from an epistemological standpoint, weighing what paradoxically was an academic deficit against contemporary practices in history and art history. The latter is examined through the specific case of Donald Judd and his determined stance against European philosophical idealism via the “realistic” practice of art history