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
States Information Services. 46 More broadly, of course, it stemmed from the
increasing American cultural presence in Britain itself, as in so many
other countries. Yet while American sources (like Australian ones) come
into this story from time to time, the focus remains on the British
culturalengagement with Hong Kong.
A second point bears emphasising: this book is based
entirely on English
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
hymn, “Onward Christian Soldiers,”’ which was
purportedly ‘splendidly sung by a Maori choir’. 21 This pattern of
cross-culturalengagement continued. Two thousand Pākehā
turned out in 1911 to support the equivalent number of Māori for
the unveiling of the memorial to Māori leader Tamahau Mahupuku.
After the ‘welcome haka ’ was danced, a Māori
choir sang hymns in both Māori and English. 22
characterise the recent resurgence of English folk, in this chapter we will now
provide an examination of possible commonalities across this diverse genre. We
will highlight some of the key elements of English folk music practice that have
been foregrounded, or have developed in profile and significance, within the
current resurgence. The list is by no means exhaustive or universally applicable:
often, individual artists or groups have emerged as exponents of one or two of
these characteristics, whilst engaging less with others. However, overall
that had doubtless been shaped by the experience of British rule.
These themes will be further developed in subsequent chapters in the
context of analysing the British culturalengagement with Hong Kong.
At the same time, Britain’s position in Hong Kong
was influenced by its own domestic politics, albeit to a much lesser
extent. As noted in the introduction, during the first three postwar decades,
Released six years after Shakespeare in Love won Best Picture Oscar, Stage Beauty (Eyre, 2004) portrays Shakespearean performance history at the point in the Restoration when female impersonators were replaced by actresses on the English stage. Given the similarities between the two films, it comes as no surprise to find that the press response to Stage Beauty made frequent comparisons, describing it as: ‘bitchy half-sister to Shakespeare in Love’; ‘Shakespeare in Love II’; and ‘Shakespeare in Love for transvestites’. Those involved in making Stage Beauty were keen to differentiate its cinematic qualities. The film was adapted by Jeffrey Hatcher from his stage play Compleat Female Stage Beauty, and directed by Richard Eyre, a former artistic director of the National Theatre. This chapter examines the textual features that mark this film out as a serious-minded depiction of theatrical heritage and gender play, along with the reception discourses that the film stimulated. It also considers possible barriers to cultural engagement with Shakespeare as manifested in ‘art cinema’ with reference to audience research.
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.