135 resultados para community cultural development


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Drawing on recent research and reflections upon the role of community development in the twenty-first century, and discussion that have taken place in this Conference, this paper will examine constructions of community development and consider some of its key orthodoxies. Central to ideas of orthodoxy in community development is a conception of 'pure' community development. However, does the notion of 'pure' community development have practical and political value? If so, where are the boundaries? In answering these questions, this paper will explore elements of contemporary wisdom in community development, such as commitment to social change, participation, empowerment, capacity building, localism and the moral superiority of the oppressed.

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In May 2002 the Australian Department of Defence announced its intention to divest the Defence land at Portsea on the Mornington Peninsula, Victoria. At the same time nominations were invited for membership of the Community Reference Group (CRG) established as part of the Portsea Defence Land Master Planning Project. The author actively participated in this voluntary advisory group which provided input on matters of interest to the community relating to the project, provided a medium for information sharing and addressed the sometimes competing needs of different stakeholder groups (such as government, business and residents). A major role of the CRG was to provide a focus for community input on aspects of technical issues, particularly in relation to the planning for the future use of the site, flora and fauna issues, infrastructure provision, traffic and access management, heritage and archaeology, and the integration of the site with both the natural environment and existing community facilities, including the township of Portsea. The author's professional background in art and architectural history, in teaching and in research specifically in heritage related areas; her record of community work both in hands on work and in leadership positions, in Melbourne and on the Nepean Peninsula, enabled her to make a significant and useful contribution to the CRG in contributing to the understanding of the rich, diverse, multilayered cultural and natural heritage of the entire site.

Using this specific example, this paper examines the process of participating in Australian society through engaging communities - engaging women. It examines the invitation to participate, the nomination and selection process, the brief given to the community reference group, the development of the consultative process over the six months of deliberations, and the important role that women played in the project. It looks at what can be learned from the experience: how women in particular led the way in changing perceptions of place within the local community, and consequently in the broader framework of the project. It examines the success of the outcomes both in terms of the specific task of writing the Master Plan for the Portsea Defence site and of the process of community participation: the dynamic inter-relationships in the group; between the group and the consultants; between the group and the Department of Defence and between the group and the Federal Government. It comments reflectively and critically on the effectiveness of the whole process.

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It has been possible to nominate places for their cultural landscape values to the World Heritage List since December 1992. The Operational Guidelines (2005) define cultural landscapes as cultural properties that ‘represent the “combined works of nature and man” designated in Article 1 of the Convention’. They are illustrative of the evolution of human society and settlement over time, under the influence of the physical constraints and/or opportunities presented by their natural environment and of successive social, economic and cultural forces, both internal and external’ (Para 47). Refining this further, the World Heritage system recognises three categories of cultural landscapes:

1. Clearly defined landscapes designed and intentionally created by man;

2. Organically evolved landscapes of two subtypes:
·  Relict or fossil landscapes in which an evolutionary process has come to an end but where its distinguishing features are still visible;
·  Continuing landscapes which retain an active social role in contemporary society associated with a traditional way of life and in which the evolutionary process is still in progress and where it exhibits significant material evidence of its evolution over time;

3. Associative cultural landscapes where the outstanding universal value relates to the powerful religious, artistic, or cultural associations of the natural elements rather than the evidence of material culture.

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Artists and workers in the creative industries who embody the essence of creativity are thwart by economic values in delivering their art work or creative concept to consumers. This is particularly evident for students in courses in creative industries who graduate with entrepreneurial aspirations, but not the means to pitch their creative concept or build the business model for the new venture. This paper analyses a university business course developed to take cultural entrepreneurs through venture building as a live case in the creative economy.

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The aim of this study is to answer the question: Is there evidence that the quality of life of residents in a community that has had community development intervention is different as compared to the quality of life of residents in a nearby community that did not have community development initiatives? This was done by administering community development initiatives in a local area and comparing it to a similar community that did not receive this intervention. The residents of these communities rated the quality of their lives and communities in two purposively selected suburbs in Perth, Western Australia using the Australian Unity Wellbeing Index to measure individual and neighbourhood well-being. The quality of life of residents in both communities is then compared to national averages for quality of life or well-being. Answering this question provides empirical evidence of variation between ratings of quality of life of residents in different communities and highlights the utility of the Wellbeing Index for the evaluation of interdisciplinary community development

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This paper discusses the cultural, attitudinal and structural factors that impact upon the social experiences and educational achievements of Arabic-speaking background (ASB) students in three Melbourne secondary schools with high levels of cultural and linguistic diversity. The paper makes the case for and then outlines a multidimensional approach to multicultural education to better integrate ASB students and their families into the schooling environment. Key strategies developed and tested include a model of school-community partnership, online and interactive teacher support material (TSM) as well as on-going teacher professional development workshops on reflexive approaches to cultural diversity and intercultural tension.

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The region known as the Southeast provides the basis for a broad political community characterized by cultural and ethnic diversity, disparities in economic performance, and differences in regime and constitutional foundations. In recent years, the Association of Southeast Asian Nations (ASEAN) group of nations has made strides toward building a community based on respect for these differences. Despite a growing acceptance for democratic processes and human rights, the influence of these values over existing institutions and state behavior remains incomplete. The future development of the ASEAN region, and the nations that comprise it, is likely to be based on the strength and character of the relationships these states forge with one another and with more powerful external actors.

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The teaching and learning of Indigenous African music is characterised as a holistic integrated experience where music, dance and theatre are inseparable, seen as an integral part of culture. The transmission of this experience is absorbed through participation in cultural activities from childhood in the community. In African societies, both traditional and contemporary, musical arts education and the understanding of culture are fundamental to life, community and society. It is through musical arts, that Africans embrace spiritual, emotional, material and intellectual aspects and knowledge of both the individual and the community. This paper reports on an in-service program (August 2006) offered at the Centre for Indigenous African Instrumental Music and Dance Practices (CIIMDA), Pretoria, South Africa. For the purpose of this paper, the one week professional development course undertaken by generalist primary school teachers from Swaziland is highlighted and proves worthy for these teachers to implement what they learnt in the classroom. As a position paper, I contend that the understanding and participation in indigenous cultural musical arts practices, enlightens learners about their cultural heritage and further enriches their understanding of African music and dance that can be adopted, adapted and applied to primary schools in Swaziland. This paper summaries some key findings of interview data from ten participants in relation to the intensive program. By offering such in-service professional development programs, teachers are able to reach their wider communities where they will continue to share and speak about African music, dance and culture.

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Governments worldwide are using funding initiatives to encourage small businesses to adopt e-commerce technology. In Australia both State and Federal Governments have encouraged e-commerce uptake through the funding of Internet portal developments that have a specific community or business focus. The success of such portals, as with many Web developments, has been mixed and there is little evidence of any evaluation of the effectiveness of such investments. This paper reports on research into an Australian B2B business community portal from launch to closure. A survey and in-depth interviews with portal participants were undertaken. The research sought to understand how the portal had been developed, and what factors may have contributed to its demise. The findings identified a number of factors, not discussed in the literature, that are important in portal development. These include: how the development process is undertaken; technological readiness of the small business owners; meeting business expectations; and understanding the business community stakeholders. The results from this study suggest that portal projects such as this are problematic and funding bodies such as governments need to understand the factors that contribute to success before funds are committed.

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Artists and workers in the creative industries who embody the essence of creativity are thwart by economic values in delivering their art work or creative concept to consumers. This is particularly evident for students in courses in creative industries who graduate with entrepreneurial aspirations, but not the means to pitch their creative concept or build the business model for the new venture. This paper analyses a university business course developed to take cultural entrepreneurs through venture building as a live case in the creative economy.