the gestures of participatory art 3 Unsolicited gestures of participation Gesture is always the gesture of being at a loss in language. (Agamben, 1999, p. 78) The theatre of the oppressed for women’s empowerment in India In May 2013 I spent two days as a participant-observer of a community theatre workshop for rural women leaders in the small town of Karur in Tamil Nadu, south India. The workshop was part of a year-long train-the-trainer programme using the methodology of the ‘theatre of the oppressed’, which ended shortly before the national parliamentary

in The gestures of participatory art

BALA__9781526100771_Print.indd 99 09/05/2018 16:19 the gestures of participatory art relating to intimate and individual ways of inhabiting a place as one’s home. These tasks were outlined in an elaborate diary that Issa gave to Cordero just before she boarded the flight to the Lebanon. They included instructions such as: ‘Kiss my aunt as you cup her head with your hands and give her my greetings, say: “Lina betsalem âlay ˙ kteer”’, or ‘Go with Nagham to the spot called “Balayet” where we used to play as kids, smell the soil there, take a look at the texture of

in The gestures of participatory art
Television, formalism and the arts documentary in 1960s Britain

3049 Experimental British Tele 16/5/07 08:02 Page 89 5 From art to avant-garde? Television, formalism and the arts documentary in 1960s Britain Jamie Sexton Arts programming has been a mainstay of British television since its early days, a tradition tied up with the public service ethic contractually enshrined in both public and commercial services. This chapter looks at two series that attempted to experiment with the presentation of art to British television viewers: New Tempo (ABC, 1967) and Who Is? (BBC2, 1968). These programmes played with, and

in Experimental British television
Open Access (free)
Towards a contemporary aesthetic

2 Jonathan Dollimore Art in time of war: towards a contemporary aesthetic In times of war In September 1914 an agonised Hermann Hesse writes of how war is destroying the foundations of Europe’s precious cultural heritage, and thereby the future of civilisation itself. Hesse stands proudly for what he calls a ‘supranational’ tradition of human culture, intrinsic to which are ideals essentially humanitarian: an ‘international world of thought, of inner freedom, of intellectual conscience’ and a belief in ‘an artistic beauty cutting across national boundaries’.1

in The new aestheticism

12 Ralegh’s image in art 1 Vivienne Westbrook I shall call the protagonist of this story ‘Ralegh’.1 I do not like to call him ‘Sir Walter’: as such he seems no more than a cliché, a posture, an adornment of English Heritage biscuit-tins and humorous No Smoking signs. He is caught in the dead space of recurrence. He is forever having to lay down his cloak in the mud, to parley with red-skinned Indians, to puff ­elabourately on a long clay-pipe. The pipe is his trademark, as familiar as Florence Nightingale’s lamp and Nelson’s empty sleeve.2 Introduction In

in Literary and visual Ralegh
Cheating at Canasta

12 ‘The art of the glimpse’: Cheating at Canasta Paul Delaney When William Trevor was interviewed by the Paris Review in 1989, he was asked to share his thoughts on the craft of the short story. ‘I think it is the art of the glimpse’, he replied. ‘It should be an explosion of truth. Its strength lies in what it leaves out just as much as what it puts in, if not more’.1 Partial illumination is a staple feature of Trevor’s work, and similar observations on the importance of restraint recur whenever Trevor has paused to reflect on a form he is adept at and

in William Trevor
Art venues by entrepreneurs, associations and institutions, 1800–1850

2 Art in the urban public sphere: art venues by entrepreneurs, associations and institutions, 1800–1850 j. pedro lorente A rt historians usually refer to the Enlightenment as a turning point in the public consumption of art, because many royal or aristocratic galleries were made accessible to the public. But the opening of collections in stately palaces was a concession emanating from the top and often revoked unpredictably. Even after the French Revolution, many museums seemed shaped by the patronising values of enlightened despotism: everything for the

in Leisure cultures in urban Europe, c.1700–1870

14 The destiny of the art and artefacts Giuliana Pieri Incredible decorations painted on the walls, horrible busts of coloured plaster in every corner, colourful emblems and banners in lieu of tapestries, gilded plaster fasci … chromolithographs of the Duce in impossible positions, huge sabres and wooden spears painted in charcoal. These are the Fascist headquarters and the offices of the syndicates and local councils … living monuments to bad taste.1 Giuseppe Bottai’s scornful attack on the proliferation of Fascist art and artefacts of dubious taste shows how

in The cult of the Duce

10 Signs and sentiment in British wildlife art William Welstead It can be argued that depictions of wildlife are among the oldest extant subject matters for human creativity, going back to the cave paintings of prehistoric times. This chapter is concerned with contemporary wildlife art in Britain covering the period from the formation of the Society of Wildlife Artists (SWLA) in 1964 to the present time. Over that time a considerable body of work has been produced by SWLA artists and exhibited in the Society’s annual exhibitions. This chapter considers the

in Extending ecocriticism
A paradox

of Fountains Abbey (Yorkshire), for example, are still viewed in their eighteenth-century state, ‘landscaped … as a picturesque folly’, according to the Abbey’s website; and a plaque at the remains of Bury St Edmunds Abbey (Suffolk) forbids ‘damaging the ruins’. 17 Reformation iconoclasm also ensured that insular medieval religious art typically survives in mutilated or fragmentary forms, as

in Medieval film