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Tom Woodin

128 Working-class writing and publishing in the late twentieth century 7 Alternative publishing and audience participation Writers and publishers in the Fed responded to known communities. Previously working-class writers had been absorbed into traditional patterns of consumption and readership that reinforced hierarchies. Fed groups were aware that accounts of working-class life had not been read in significant numbers. For example, the growth of labour studies had not necessarily led to a more historically conscious labour movement.1 Mainstream cultural

in Working-class writing and publishing in the late twentieth century
Author: Sruti Bala

This book presents a study that undertakes an examination of participatory practices in contemporary theatre, performance and the visual arts, setting these against the broader social and political horizons of civic participation. It reconsiders the status of participation, with particular emphasis on participatory art both beyond a judgement of its social qualities as well as the confines of format and devising. The book attempts a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts. Gestures of participation in performance indicate possibilities for reconfiguring civic participation in public spaces in unexpected ways. Thus, less emphasis is laid on direct opposition and instead seeking a variety of modes of resisting co-optation, through unsolicited, vicarious or delicate gestures of participation. The book examines the question of institutional critique in relation to participatory art. It moves on to address the relationship between participatory art and the concept of 'impact'. A close examination of one workshop setting using the methodological framework of the 'theatre of the oppressed' in the context of a political party-led initiative follows. The book follows two conceptually inspired performance projects Where We Are Not? and If I Could Take Your Place? Finally, it emphasizes on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork's foregrounding of sleep as a mode of participation.

Sruti Bala

camping at 115 BALA__9781526100771_Print.indd 115 09/05/2018 16:19 the gestures of participatory art various everyday or representative urban locations, in public squares, in skyscrapers, in shopping malls and in school rooms. Upon arrival, they checked in by filling in a form, in which they were asked three questions about their relationship to the particular site.1 They were then provided with a tent, an air mattress, towels and a torch. Audience participation consists of the deceptively simple act of around twenty people pitching tents on the site, spending the

in The gestures of participatory art
Open Access (free)
Memories of cinema-going in the ‘Golden Age’ of Hollywood
Sarah Stubbings

ceiling’. 29 The organist was both a spectacle (his appearing through the floor with its resonance of a magical apparition and the splendour of the organ itself) and a symbol of audience participation, giving everybody the opportunity to sing together. Indeed, a letter in the Nottinghamshire Archives states that Helyer’s ‘forte was singalong medleys’ which ‘created the special atmosphere that is unique

in Memory and popular film
Reconfigurations of twenty-first-century audiences
Liz Tomlin

1970s and the resurgence of such experiments in the 1990s and 2000s, this narrative of empowerment has remained intact. So, too, has its flip side, which implicitly, or at times explicitly, proposes that an absence of audience participation, that is a seated and silent audience, reflects a passivity which is politically disempowering by comparison. Bishop writes that the conviction of the earlier artists and theorists that ‘physical involvement is considered an essential precursor to social change’ is ‘no less persistent’ today, although she does add, and more on

in Acts and apparitions
Sruti Bala

the life of the artist into which another artist figuratively and physically steps, whereas in If I Could Take Your Place it is the artist who steps into other people’s lives and homes. The theatricality of participation Issa’s ‘replacement’ projects might seem somewhat odd and unlikely choices for a discussion about participatory art. In the public presentation of Where We Are Not, the thrust of the performance installation was neither on activating spectators and transforming them into performers, nor was it devised as an immersive experience. Audience

in The gestures of participatory art
Open Access (free)
An examination of Godder’s socially engaged art and participatory dance for Parkinson’s work
Sara Houston

processes Godder has used in dance making and performance: these works, being made with the dancers as leaders during the performance, unusually involved audience participation. Common Emotions could be considered as the ‘mother’ work to Stabat Mater , in that one movement motif – the one described above – was taken from the former work and implemented as the main and only motif in the latter. In 2017, Godder renamed Stabat Mater , calling it Simple Action and toured the work internationally, allowing for a variety of different spaces to be used for the event. In

in Performing care
Author: Tom Woodin

This is a unique study of working-class writing and community publishing. It evaluates the largely unexamined history of the emergence and development of working-class writing and publishing workshops since the 1970s. The nature of working-class writing is assessed in relation to the work of young people, older people, adult literacy students as well as writing workshops. Key themes and tensions in working-class writing are explored in relation to historical and literary frameworks. This is the first in-depth study of this body of writing. In addition, a number of crucial debates are examined, for example, over class and identity, critical pedagogy and learning, relationships with audiences and the role of mainstream cultural institutions in comparison with alternatives. The contradictions and tensions in all these areas are surveyed in coming to a historical understanding of this topic.

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Abstract only
Sruti Bala

them? Second, in what ways does participatory art participate in civic, public life? These questions are interconnected by the vectors of participation. All attempts to answer one inevitably have to deal with the problems of the other. The question of an artwork’s participation in public life is partly an expansion of the question of audience participation in art from the micro to the macro scale, since performance practices might, at one level, be viewed as microcosms of a broader social reality. They are not located outside of social reality, in a safely cordoned

in The gestures of participatory art