113 FOUR The artists Introduction In the late Senegalese filmmaker-novelist Ousmane Sembene’s (1970) novel God’s bits of wood, the history of a 1947–48 workers’ strike against the colonial operators of French West Africa’s Dakar–Niger railroad is retold through the stories of the social networks of the strike’s organizers, activists, and opponents along the line of rail at three urban junctures: Dakar, Thiés, and Bamako. Sembene connects the cities, and the countryside between them, in a kind of produced socio-nature of resistance to colonial rule and its
121 SEVEN The prospects of gentrification in downtown Cairo: artists, private investment and the neglectful state Mohamed Elshahed In December 2012, the Goethe Institute in downtown Cairo hosted a panel discussion titled ‘Artists as Urban Catalysts in Downtown Cairo’. The event was organised by Beth Stryker and Omar Nagati, founders of the Cairo Laboratory for Urban Studies, Training and Environmental Research (CLUSTER). Invited panellists represented two types of stakeholders in downtown: property- owners (Karim Shafei, chief executive officer [CEO] of Al
131 SIX What is the role of artists in interdisciplinary collaborative projects with universities and communities? Kate Pahl, Hugh Escott, Helen Graham, Kimberley Marwood, Steve Pool and Amanda Ravetz1 Introduction In this chapter we provide a way of thinking about the impact of artists working collaboratively in order to co-produce ideas with a range of people, including people working in universities. The drive to make art with communities in order to effect change and support community activism has had a long history both in the UK and globally
Introduction As the previous chapters have demonstrated, each Co-Creation experience is unique. Project outcomes and dynamics vary greatly from one project to the other depending on their origins, length, the actors who initiated them and the interactions between the originators and other participants. Workshops can be instigated by academics with expertise in research design, by artists familiar with creative techniques or local actors knowledgeable about issues relevant to the community. Roles are, however, rarely clear-cut and several combinations are
default pedagogies embedded in the daily lives of their schools (Thomson et al, 2009; Hall and Thomson, 2017b ), and it is this work that we discuss in this chapter. There is, of course, no single right way to build knowledge, know-how and a habituated curiosity and desire to know more, and no single right way to avoid being dull. CP’s approach was to fund artists to work on pedagogical reform with teachers, to develop pedagogies that challenged, provoked and invited students to go beyond what they imagined they could do. Enter artists For the last 15 years, we
425 Policy & Politics • vol 43 • no 3 • 425-41 • © Policy Press 2015 • #PPjnl @policy_politics Print ISSN 0305 5736 • Online ISSN 1470 8442 • http://dx.doi.org/10.1332/030557315X14350831088019 Scaling up networks for starving artists Ben Farr-Wharton, ben.farr-wharton@scu.edu.au Robyn Keast, robyn.keast@scu.edu.au Southern Cross University, Australia Creative industries development strategies have largely adopted a regionally embedded cluster platform to enhance the economic contribution of the sector. Such an isolated approach has done little to curb
139 CHAPTER SEVEN Scaling up networks for starving artists Ben Farr-Wharton and Robyn Keast Introduction An increasing number of countries are adopting a creative industries policy platform, combining the film, digital, media, music, performing arts and design segments under one banner to stimulate economic development. A key reason for this is that the innovation generated by those that work in the creative industries (henceforth ‘creative workers’) appears to produce significant spill-over effects across multiple economic sectors, while requiring little
, by exploring the development and reception of Section 32 , an immersive performance installation that converted an ordinary suburban home into a speculative vision of the Australian suburbs, somewhere at the end of the 21st century. Art historian Miwon Kwon has noted that in recent times artists have moved away from the term ‘site-specificity’ as a general description of their work, to instead embrace more nuanced terms such as ‘site-determined, site-orientated … site-responsive and site-related’, to ‘account for the various permutations of site-specific art’ in
What is the role of the artist in rapidly configuring cities, in cities shaped by Malvina Reynolds’ suburban ‘little boxes made of ticky tacky’ 1 as they give way to the jaws of JCBs and are replaced by a now globalised ‘Vancouverism’ template of mixed-use medium-rise commercial base with high-rise residential towers ( Punter, 2004 )? Moreover, what is the role of the suburb in this rapid reconfiguration and how might artists lead the way for community-involved and participatory planning? These are the questions addressed by Clare McCracken (2021) through
Bringing together academics, artists, practitioners and ‘community activists’, this book explores the possibilities for, and tensions of, social justice work under the contemporary drive for community-orientated ‘impact’ in the academy.
Threading a line between celebratory accounts of institutionalised community engagement, self-professed ‘radical’ scholarship for social change and critical accounts of the governmentalisation of community, the book makes an original contribution to all three fields of scholarship.
Showcasing experimental research and co-production practices taking place in the UK, Australia, Sweden and Canada and within universities, independent research organisations and internationally prestigious museums and galleries, the book considers what research impact could look like for a wide range of audiences and how universities could engage with different publics in ways that would be relevant and useful, but may not necessarily be easily measurable.
Asking hard questions of the current impact agenda, the book offers an insight into emerging routes towards co-production for social justice.
