By Petra Kuppers
Group functionality: An advent is a accomplished and available practice-based primer for college kids and practitioners of neighborhood arts, dance and theatre. It is either a classroom-friendly textbook and a guide for the practitioner, completely answering the wishes of a box the place educating is oriented round perform. delivering a toolkit for college students attracted to operating neighborhood arts teams, this booklet comprises: foreign case-studies and primary individual tales by way of practitioners and contributors pattern routines, either useful and reflective research questions excerpts of illustrative fabric from theorists and practitioners. This e-book can be utilized as a standalone textual content or including its better half quantity, The group functionality Reader, to supply an exceptional creation to the sector of neighborhood arts perform. Petra Kuppers has drawn on her large own adventure and a wealth of inspiring case stories to create a ebook that would interact and aid to improve the reflective neighborhood arts practitioner.
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Extra info for Community performance: an introduction
It could be anything, and whatever the event is, it is unpredictable. As you read this, you may wonder, what is a Myth? It will happen, and when it does, you will know. Halprin, quoted in Kaplan, 1995: 128 In 1967, as part of an ongoing exploration of audience participation and community building, Halprin led dancers and audiences in ten weeks of weekly ‘performances’. In these participatory events, audiences and performers together tested out ideas of ‘community’, release of creativity, meaningful encounter, environmental exploration, ritual and play.
Paulo Freire The pedagogy of the oppressed, animated by authentic, humanist (not humanitarian) generosity, presents itself as a pedagogy of man. Pedagogy which begins with the egoistic interests of the oppressors (an egoism cloaked in the false generosity of paternalism) and makes of the oppressed the objects of its humanitarianism, itself maintains and embodies oppression. [. ] The pedagogy of the oppressed, as a humanist and libertarian pedagogy, has two distinct stages. In the ﬁrst, the oppressed unveil the world of oppression and through the praxis commit themselves to its transformation.
Miles, 1992: 7 Community performances can tap into the pleasures of traditions – invented, reimagined, re-born. There can be many sources of a given community performance’s power, and a reﬂective practitioner can ﬁnd ways of ﬁnding connection in multiple ways. How can performances consciously reveal their use/remake/change of tradition? Clearly, the dominant vision of ‘invented traditions’ is negative: they are somehow ‘less valuable’ because they are ‘newly’ invented. But, from a different perspective, any form of transmission is a form of re-invention.