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International Perspectives

It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.

Challenges and opportunities for museums, cultural engagement and lifelong learning at the University of Glasgow
Maureen Park

10 In a new ‘Age of Enlightenment’: challenges and opportunities for museums, cultural engagement and lifelong learning at the University of Glasgow  1 Maureen Park Inspiration and enjoyment are powerful motivators to learning, and the unique importance and extraordinary diversity of the collections held in university museums are undoubtedly a potent resource to this end. (UMG, 2004: ii) D uring the last forty years a revolution has taken place in the role of many of our museums. Once defined as centres of culture and learning, they are now adopting an extra

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Open Access (free)
Ontologies of connection, reconstruction of memory
Jeremy C.A. Smith

emergent capitalism, which has been consubstantial with subsuming colonialism, has transformed the meaning of the Pacific’s geography. Arif Dirlik is right to highlight the discourse of the ‘Rim’ (1997:  129–​45). But the discourse is neither all-​powerful, nor pervasive. The Pacific’s past is polycentric and its forms of memory embrace connected centres, a continuous mythology (both temporally and spatially), particular historicities and an unusual mode of inter-​cultural engagement. For critical generalisation to be possible, an appreciation of this mode of engagement

in Debating civilisations
Orian Brook, Dave O’Brien, and Mark Taylor

that it is not just in terms of careers, but even things like tastes are changed by parenting. Parenting has wide-ranging impacts. Our more substantive point from Tasha’s comment is the powerful impact parents have on their children’s connection to culture. This point is grounded in extensive academic literature demonstrating the important role parents play in supporting cultural engagement. 1 In Tasha’s case the pursuit of her own cultural interests is inhibited by the responsibilities of parenthood. Instead her personal cultural participation becomes expressed

in Culture is bad for you
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Darlene E. Clover and Kathy Sanford

Lawrence speaks of in the above quotation. They also reflect the work shared in this volume – Lifelong learning, the arts and community cultural engagement in the contemporary university: international perspectives – by adult educators from North America, Europe and Africa who, within or through their universities, engage with aesthetic pedagogical practices that aim to critically and creatively communicate, teach, make meaning, uncover and involve. We do recognise, however, that these concepts do not necessarily come readily to mind when one thinks of the arts and the

in Lifelong learning, the arts and community cultural engagement in the contemporary university
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Developing lifelong learning for community dance practitioners
Victoria Hunter

‘knowledge transfer’ initiatives. This type of initiative is defined as the application of ­scholarly expertise across a range of community and industry contexts for the general 161 Clover_Sandford.indd 161 05/04/2013 09:03 community cultural engagement benefit of society. The ability to demonstrate relevance and connectivity at both a local and national level has become of key importance to many UK higher education institutions in recent years in the face of an ever more competitive marketplace in which institutions and degree programmes compete for market share. This

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Exploring diversity through narrative métissage
Catherine Etmanski, Will Weigler, and Grace Wong-Sneddon

represent Catherine’s perspective. We have two key reasons for writing this chapter. First, in sharing our experience, we are in fact advocating for more widespread use of arts-based methods in university settings. Conferences, classrooms, meetings and research projects 123 Clover_Sandford.indd 123 05/04/2013 09:03 community cultural engagement continue to be dominated by more traditional methods such as PowerPoint lectures, panel presentations or debates. While these time-honoured methods certainly have their place, they are but a few among endless possibilities for

in Lifelong learning, the arts and community cultural engagement in the contemporary university
University–community engagement for peace
Rob Mark

:03 community cultural engagement than simply cognitive, rational engagement with ideas (Hamber and Kelly, 2004; Lederach, 1997). The understanding that peacebuilding transforms the cognitive domain of learning and affective modes of expression provide a reason for focusing on adult literacy education using alternative, creative, cultural methods. In addition to the lack of understanding about the value of creative practice, there has also been little recognition of the relationship between peacebuilding and adult literacy vis-à-vis conflicts such as Northern Ireland. Indeed

in Lifelong learning, the arts and community cultural engagement in the contemporary university
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City of culture
Mike Savage and Janet Wolff

contemporary studies – by Andrew Miles and Selina Todd – take as their central question the complicated interplay between social position and cultural engagement, something never as clear-cut as some accounts have claimed. Both these studies show that the working classes have a much more complicated relationship with the city’s cultural institutions than is implied in the common view that it is predominantly the middle classes who are culturally engaged. Janet Wolff’s study of the role of the calico printers in the early years of art education shows, in line with other

in Culture in Manchester
Orian Brook, Dave O’Brien, and Mark Taylor

is a clear relationship between people’s cultural consumption and more general social inequalities. We can show this with England as our example. In England, on average, someone in a high-status job, with a degree, in the higher managerial or professional category, who is female, and living in the South of England, has particularly high engagement in culture. Those in working-class occupations, ethnic minorities, and those without wealth, have significantly less formal cultural engagement as compared to their wealthy, White counterparts. From our analysis we

in Culture is bad for you