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
In a new ‘Age of Enlightenment’:
challenges and opportunities for museums,
culturalengagement and lifelong learning
at the University of Glasgow
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)
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
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-culturalengagement. For critical generalisation to be possible, an
appreciation of this mode of engagement
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 culturalengagement. 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
speaks of in the above quotation. They also reflect the work shared in this volume
– Lifelong learning, the arts and community culturalengagement 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
Developing lifelong learning for community dance practitioners
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
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.
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
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
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
contemporary studies – by
Andrew Miles and Selina Todd – take as their central question the complicated
interplay between social position and culturalengagement, 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
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 culturalengagement as compared to their wealthy, White counterparts.
From our analysis we