Spank performance tour [at National Review of Live Art 2008]

Spank is a duet about two women’s journeys as they play out different roles. One woman recalls stinging anecdotes marked by intimacy, jealousy, fear and fantasy from her childhood in the 70s suburbs – round the corner from where Mike Leigh would film Life Is Sweet. Her Double (projected on screen) reads from a newspaper about an event that punctured the local community, creating an enduring cultural scar, her voice lacking emotion. Both women must eventually face one another and ask, who is deceiving whom? The consequences of guilt and shame and the unstable shift from private memory to public consequence is inevitable and deadly.[ABSTRACT BY THE AUTHOR]

Hide and seek with rebels: tracing contemporary queer art in cracks and rips

This Article does not have an abstract.

Creative environments for art, craft & design teaching in the 21st century

This booklet has been designed for student teachers in particular and those in their early years as teachers of art, craft and design. It is suitable however for all teachers of art and design, and will be useful when considering the 2007 review of the Art and Design programme of study (POS) with its focus on creativity and ideas developments. The contents are intended as prompts or guides and ideas for initiating individual responses to themes or projects and a "way in" for the teacher when guiding pupils. It explains in detail how one might inspire all groups with appropriate and varied resources.

Introduction to the BASIN Special Issue: State of art, past present a view to the future

Marine ecosystems are complex networks of organisms interacting either directly or indirectly while under the influence of the physical and chemical properties of the medium they inhabit. The interplay between these biological agents and their abiotic environment results in complex non-linear responses to individual and multiple stressors, influenced by feedbacks between these organisms and their environment. These ecosystems provide key services that benefit humanity such as food provisioning via the transfer of energy to exploited fish populations or climate regulation via the sinking, subsequent mineralization and ultimately storage of carbon in the ocean interior. These key characteristics or emergent features of marine ecosystems are subject to rapid change (e.g. regime shifts; Alheit et al., 2005 and Scheffer et al., 2009), with outcomes that are largely unpredictable in a deterministic sense. The North Atlantic Ocean is host to a number of such systems which are collectively being influenced by the unique physical and chemical features of this ocean basin, such as the Atlantic Meridional Overturning Circulation (AMOC), the basin’s ventilation with the Arctic Ocean, the dynamics of heat transport via the Gulf Stream and the formation of deep water at high latitudes. These features drive the solubility and biological pumps and support the production and environments that results in large exploited fish stocks. Our knowledge of its functioning as a coupled system, and in particular how it will respond to change, is still limited despite the scientific effort exerted over more than 100 years. This is due in part to the difficulty of providing synoptic overviews of a vast area, and to the fact that most fieldwork provides only snapshots of the complex physical, chemical and biological processes and their interactions. These constraints have in the past limited the development of a mechanistic understanding of the basin as a whole, and thus of the services it provides.

Museums as a factor for the social integration of art in the community. The experience of cultural volunteering by members of the senior community

After considering museums as cultural institutions responsible for preserving cultural memory and its evolution over time, this article describes the cultural practices within our society that are aimed at disseminating art and at reproducing and transmitting culture, history and identity. Further, it considers the key role that older people are steadily assuming in Spain’s ageing society. New social-empowerment activities based on volunteering by the elderly are linked to generativity because the individual and social groups acquire new skills through those activities, thereby strengthening a society for all ages. Never in the history of social work have so many older people been prepared to participate actively at the community level, and never has a social movement with these features gone so unnoticed by so many social agents.

Playback Theatre: the art of being oneself. A tool for empowerment and real change for individuals and communities

This article presents the application of a theatrical technique—Playback Theatre, which was developed in the United States during the 1970s—to social intervention, as a narrative and listening space that confers value and dignity upon the person and the unique and distinct individual experiences that facilitate their social and relational integration. This art of being oneself, as the author states, uses the oral tradition and spontaneous and creative communication of psychodrama and combines them with theatrical expression. This technique has been shown to be pertinent to both community social work and support groups for persons in problematic situations. The aim of this is to celebrate some specific moment of their lives, as individuals or as a community, and to define strategies for improving living conditions or resolving or alleviating conflicts. It is also used to assess the achievements of the proposed objectives, to strengthen the motivation to change and to transform existing relationships into collaborative ones. This is possible not only owing to the participation of persons, but also to the assumption of different roles that can permit the overcoming of certain traumatic events.In addition to support groups, it is used for the training and supervision of social work professionals. The theatrical technique in question allows them to assume roles as diverse as narrator, audience or actor, whether simultaneously or successively. Taking the role of «performer» or guide to the theatrical action requires prior preparation in order for the group of participants to be able to pool their individualities and their emotions and reflect on them. The participatory methodology that Playback Theatre proposes is important in community social work and is posed in a new and transformative key.

Art, adolescence and Social Work: Anja, the invisible manager

This article has been written with the intention of being able to analyse the contributions of art —theatre, in this case— to the practice of social work. For this purpose, we have chosen to read the social reality in which we intervene through the lens of social constructionism. This helps us to rescue the social and subjective side of art, and, moreover, to recover the depathologization of the subject in professional intervention. Thus, using a practical case taken from work with adolescents in the German FSJ programme, hand-in-hand with a young girl called Anja we trace the developmental and sociological aspects of adolescence in order to later address certain common points of art and psychosocial work. Art will hence be redefined as a transitional object allowing questions to be addressed relating to (self-) perception, attachment, communication and changes in conduct as the ultimate goal of professional action. Lastly, we note the limitations and risks of art-based intervention, in order to conclude with a final synopsis.

Performing Resistance/Negotiating Sovereignty: Indigenous Women's Perofrmance Art in Canada

Performing Resistance/ Negotiating Sovereignty: Indigenous Women’s Performance Art In Canada investigates the contemporary production of Indigenous performance and video art in Canada in terms of cultural continuance, survivance and resistance. Drawing on critical Indigenous methodology, which foregrounds the necessity of privileging multiple Indigenous systems of knowledge, it explores these themes through the lenses of storytelling, decolonization, activism, and agency. With specific reference to performances by Rebecca Belmore, Lori Blondeau, Cheryl L'Hirondelle, Skeena Reece and Dana Claxton, as well as others, it argues that Indigenous performance art should be understood in terms of i) its enduring relationship to activism and resistance ii) its ongoing use as a tool for interventions in colonially entrenched spaces, and iii) its longstanding role in maintaining self-determination and cultural sovereignty.