Applied Arts and Social Justice (Social Work Ethics Conference)
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This document discusses the intersection of applied arts and social justice. It provides examples of how the arts can be used to empower voices, promote social justice principles, and enact change. The arts are shown to have therapeutic benefits for clients and communities and can be leveraged for social change through mediums like photography, theater, film and street art. The document also highlights examples of arts-based social justice programs and events at a university.
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Applied Arts and Social Justice (Social Work Ethics Conference)
- 1. Applied Arts and Social Justice: Empowering Voices, Empowering Choices Artist: Martha Baum
- 2. Social justice is a Primary social work ethic That views everyone as deserving of equal economic, political and social rights and opportunities and charges social workers to engage in acts of advocacy no matter the setting of their practice.
- 3. The Encounter I believe today I almost met someone. For just a few moments, possibly, the whirring edge of me disturbed some surface of attention. Perhaps in time I’ll risk being still enough actually to meet a whole person. I wonder would either of us survive the awe and enormity of true encounter. ~From “Loitering” by Rogan Wolf
- 4. Social Justice and Health as a Human Right: The application of core principles advocating for the right of every person, regardless of circumstance, to receive the best possible health care integrated with contemporary science and delivered respectfully, without bias or judgment. http://reginaholliday.blogspot.com/2011/04/walking-gallery.html
- 5. Applied Arts and Social Justice Preparing students to disrupt injustice through the arts to change the world
- 6. “Healing Art is being born as we speak. The concept is catching fire, is awakening in people’s spirit. Artists, musicians and dancers are realizing their imagery has meaning, that their imagery heals them, others, their neighborhood, or the earth.” ~Michael Samuels
- 7. “Art is a wound turned into light.” ~Georges Braque
- 8. “The creative is the place where no one else has ever been. You have to leave the city of your comfort and go into the wilderness of your intuition. What you’ll discover will be wonderful. What you’ll discover is yourself.” ~Alan Alda
- 9. Arts with Clients Expressive Arts: •Music therapy •Movement/Dance therapy •Art therapy •Psychodrama •Writing/narrative therapy
- 10. Arts for Social Change • Photography • Theater and Performance • Film and Documentaries • Flashmobs • Street art • Poetry slams • and many, many more . . .
- 11. What’s Happening at UNE Creating with Children at America’s Camp The Four Elements of Joy Storytelling Night Music Therapy: The Meeting of Art and Science The Ongoing Scars of Slavery Artists’ Rapid Response Team
- 12. Passion Play Passionate Play
- 13. PHAMALY The Physically Handicapped Actors & Musical Artists League
- 14. OUT & ALLIED VOL 1 & 2 Royalty free plays, monologues, spoken word, and music written by, with or for youth activism
Notes de l'éditeur
- Artist: Martha Baum Personal Collection of Shelley Cohen Konrad
- Creative Commons: http://humanrightssocialjustice.blogspot.com/2011/08/arts-for-change-forum-924-at-fordham.html - slide #2 Creative Commons: http://www.12ozprophet.com/index.php/mare_139/entry/prism-urban-art-and-culture-festival
- Creative Commons: http://www.artisaway.com/art/painting/santiago-salvadors-paintings/
- Regina Holliday: http://reginaholliday.blogspot.com/2011/04/walking-gallery.html
- Greek Association of Dance Therapy
- Image retrieved from: http://freepsdfiles.net/backgrounds/creative-flow-psd-illustration
- Image from http://www.healthyfellow.com/448/music-therapy/
- These are disciplines that have established and educated practitioners with professional certifications. All of these techniques can be and are used by social workers and are part of their tool set, even if they do not hold professional certification in these fields. AASJ is not expressive arts program,
- And that’s just this semester! Images used with permission of the artists for promotional purposes for UNE Applied Arts and Social Justice Certificate Program
- Use part of Kris’ MFA Thesis – History of Theatre as intervention Theatre of the Oppressed: using theatre in a political context, as a tool for understanding, education, and development. Boal’s techniques are also used in therapeutic settings to enhance personal and group development. Three Boal Techniques (PHOTO: http://boalworkshop2008.blogspot.com/2008/06/three-boal-techniques.html) INVISIBLE THEATRE is a technique of rehearsing a scene with actions that the protagonist would like to try out in real life. This is done in a place where these events could really happen and in front of an audience who, unaware that they are an audience, accordingly act as if the improvised scene was real. Thus, the improvised scene becomes reality. Fiction penetrates reality. What the protagonist had rehearsed as a plan, a blueprint, now becomes an act. IMAGE THEATRE consists of creating short scenes, no longer than a minute or two, with a strong image that the entire audience can easily understand, identify, and apply to their own lives. Images can be realistic, allegorical, surrealistic, symbolic or metaphorical. The only thing that matters is that it is true; that it is felt as true by the protagonist. Images tell the story in a condensed, outline form using pictures with very little or no talking. The audience is pulled in immediately because they know exactly what is being said. Movement, music, and ensemble are used to heighten the impact. FORUM THEATRE is a type of theatrical game where a problem is shown in an unresolved form. The audience is invited to suggest and enact solutions. The scenario is then repeated, allowing the audience to offer alternative solutions. The game is a contest between the audience and actors trying to bring the play (or oppression) to a different end. The result is a pooling of knowledge, tactics and experiences. As the audience participates in enacting solutions to break the cycle of oppression they are also “rehearsing for life.”
- PHAMALY Theatre Company: Formerly the Physically Handicapped Actors & Musical Artists League produces professional scale plays and musicals year-round throughout the Denver Metro region, cast entirely of performers with disabilities across the spectrum (physical, cognitive, emotional, blindness, deafness…etc.)…performers with all kinds of physical problems, some more visible than others. There are actors in wheelchairs, actors who limp, actors suffering invisible problems and diseases. PHAMALY seeks not just to overcome physical problems, but how to make creative use of them so that they become a vital part of what he and his company want to communicate…wants audiences to "re-envision disability." Notlooking for pity, but it does require understanding — and part of that understanding is knowing that disabled people aren't "other.” Tomorrow they may face the customary daily difficulties of breathing, moving, thinking or simply getting by — but for tonight, they've transcended all that — and the transcendence is, in some ways, eternal. It will linger for all of us. PHOTO: http://www.phamaly.org/#!news/nws5/CBA36A79-4F57-4CC6-B6AE-7F545456703C/theatre-review%3A-%E2%80%98joseph-and-the-amazing-technicolor-dreamcoat%E2%80%99-at-phamaly-theatre-company-in-denver-colorado July 13, 2014 “This time last year was my first time being in the audience for a show which featured disabled actors doing a well-established piece of theatre, and I remember how great, and—dare I say it?—normal it made me feel to see talented people with disabilities bring the house down with their performances. Cut to tonight, which is opening night for Joseph and the Amazing Technicolor Dreamcoat, and it’s a surreal feeling to come back to the Space, not as a spectator, but as a participant, acting in a show with these people I mentioned above who gave me that feeling of normalcy during a show for the first time. It is an extraordinary thing to find a theatre group who will look at your scooter, your bum hand and your spastic legs and say, “Join us! We want you!” I am honored to be a part of this show, and I am humbled that I am able to count myself in your ranks. What we’re doing is such important work.” ~Stewart B. Caswell
- Wouldn’t you like to focus less on THE PROBLEMS of LGBTQ youth, and more of THE STRENGTHS? If you look at what the Search Institute has researched and published about this very thing in their 40 Developmental Assets for Adolescents, Intervention and support services are important for survival; having what you need to thrive is strength-based. Cathy Plourde, formerly of Add Verb productions has developed tools for combining intervention, support, and the many strengths of LGBTQ youth. Out & Allied Anthology Vol 1 (2011) and Vol 2 (2014) features royalty free plays, monologues spoken word, and music written by, with or for youth activism. Vol 1 includes a handbook with guidelines and suggestions for using theater for social change, in addition to a glossary of LGBTQ terms courtesy of GLSEN (Gay, Lesbian and Straight Education Network). Vol 2 highlights dialogue and youth leadership in faith-based communities. These books are designed to be used as a resource for staging performances and bringing to light the stories of LGBTQ youth. SCARY STATISTICS The development of the Out & Allied books was primarily youth driven, (KRIS SCRATCHES HER HEAD – IS INTERRUPTED BY THEATRE) from the development of the pieces, to peer editing, to producing performances, to completing the book. IMAGES are Book Covers, used with permission of Cathy Plourde.