Creative activism case studies imagination
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A presentation for the Youth in Action Training Course "imagination in a changing world" run by Mayfield Art
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Creative activism case studies imagination
- 1. ImagiNATION April 2012 Creative Activism
- 2. webs of meaning
- 3. Cultural Activism: TRAPESE Verson , p. 173, DIY Handbook, Trapese Collective: • For me, cultural activism is campaigning and direct action that seeks to take back control of how our webs of meaning, value systems, beliefs, art and literature, everything, are created and disseminated. It is an important way to question the dominant ways of seeing things and present alternative views of the world.
- 5. …big impacts
- 6. Cultural Activism: 4 Principles • Insurrectionary Imagination • Dialogue and Interactivity • Community, Concrete action and Campaigning • OUR world- a systems thinking worldview
- 9. http://www.thecommentfactory.com/hopes-and-prospects-chomskys-amnesty-international-lecture-2685/ possible Another world is
- 10. Visual Arts
- 11. Case Study 1: Upstart • A campaign to raise awareness about the importance of the arts and creativity in Ireland’s future • POSTERS animation • Blog/ website • www.upstart.ie • Facebook • YouTube Advertisement
- 12. Case Study 2: Book Blocs Book Blocs http://demonforteaonepal.tumblr.com/post/4006607787
- 13. Theatre/ Spectacle/ Performance
- 14. Case Study 3: Fun Theory • Fun Theory (disclaimer- sponsored by Volkswagen!)
- 15. Case Study 4: Improv Everywhere • Invisible theatre- Free Hugs and Improv Everywhere and Flash Mobs • See also Choir of Complaints
- 16. Case Study 5: Rebel Clown Army • Rebel Clown Army and video
- 18. Reclaiming Public Space
- 19. Case Study 6: Guerilla Gardening • Guerilla Gardening • Moss Graffiti • Seedtrail (last year’s HETAC students)
- 20. Case Study 7: Dartmouth Square • Dartmouth Square Story • Fitzwilliam Square Outdoor Cinema
- 21. Case Study 8: Warriors Without Weapons • Brazil- the Warriors without Weapons game
- 22. Case Study 10: Occupy Café • Occupy Conversations
- 23. Case Study 12: Mayfield Arts Globalfest • Youth Arts Festival with global perspective • GlobalFest
- 24. Case Study 13: Masta • http://www.creativeacts.org/
- 25. Case Study 14: Candy Chang • Before I Die
- 26. Useful Resources for Exploring Development Creatively • Mayfield Arts Art Action Toolbox • Mayfield Resource Packs • Loesje • Masta Creative Activism • Comhlamh Diversity Through the Arts resource pack
- 27. Creative Activism: Interesting Websites • Masta http://www.creativeacts.org/ • Hactivism http://knowledge.exchangedublin.ie/lectures/hacktivism.html • Activist Handbook 2011 http://www.centreforglobaleducation .com/sites/default/files/publications/Activist%27s%20Handbook.pdf • Ricardo Levins Morales (Posters) • http://www.rlmarts.com/ • http://en.wikipedia.org/wiki/Guernica_%28painting%29 • http://www.aiweiwei.com/html/works.htm • The Lab of Insurrectionary Imagination http://labofii.net/reflection/ • Journal of Aesthetics and Protest http://www.journalofaestheticsandprotest.org/ • About Joseph Beuys and social sculpture http://en.wikipedia.org/wiki/Joseph_Beuys#The_concept_of_.22Social_Sculpture.22 • Information Activism • Information is Beautiful • Loesje Posters • Good Is Infographics
- 28. Methods for Working with Young People • Through Other Eyes http://www.throughothereyes.org.uk/
- 31. Reflect UnLearning Connect Reach Out Listening Act Learning to Learn Learn
- 32. Finally…. • A Hopi Elder speaks: • • "There is a river flowing now very fast. It is so great and swift that there are those who will be afraid. They will try to hold on to the shore. They will feel they are torn apart and will suffer greatly. "Know the river has its destination. The elders say we must let go of the shore, push off into the middle of the river, keep our eyes open, and our heads above water. And I say, see who is in there with you and celebrate. At this time in history, we are to take nothing personally, Least of all ourselves. For the moment that we do, our spiritual growth and journey comes to a halt. "The time for the lone wolf is over. Gather yourselves! Banish the word struggle from you attitude and your vocabulary. All that we do now must be done in a sacred manner and in celebration. "We are the ones we've been waiting for .
- 33. Pro-Action Café
- 34. How we see the world
- 35. worldviews
- 40. The Art of Hosting and Harvesting Conversations That Matter Hosting is “an emerging set of practices for facilitating group conversations of all sizes, supported by principles that: maximize collective intelligence; welcome and listen to diverse viewpoints; maximize participation and civility; and transform conflict into creative cooperation.” http://artofhosting.ning.com/
- 41. Thanks for Listening! Eimear McNally www.makehandstands.com Makehandstands@gmail.com
Editor's Notes
- Spivak 痴 work provided the insight for the structure of TOE 痴 conceptual framework of learning to unlearn, learning to listen, learning to learn and learning to reach out. Learning to unlearn is defined as learning to perceive that what we consider 組 o od and ideal � is only one perspective and this perspective is related to where we come from socially, historically and culturally. It also involves perceiving that we carry a 'cultural baggage' filled with ideas and concepts produced in our contexts and that this affects who we are and what we see and that although we are different from others in our own contexts, we share much in common with them. Thus, learning to unlearn is about making the connections between social-historical processes and encounters that have shaped our contexts and cultures and the construction of our knowledges and identities. It is also about becoming aware that all social groups contain internal differences and conflicts and that culture is a dynamic and conflictual production of meaning in a specific context. Learning to listen is defined as learning to recognise the effects and limits of our perspective, and to be receptive to new understandings of the world. It involves learning to perceive how our ability to engage with and relate to difference is affected by our cultural 'baggage � - the ideas we learn from our social groups. Hence, learning to listen is about learning to keep our perceptions constantly under scrutiny (tracing the origins and implications of our assumptions) in order to open up to different possibilities of understanding and becoming aware that our interpretations of what we hear (or see) say more about ourselves than about what is actually being said or shown. This process also involves understanding how identities are constructed in the process of interaction between self and other. This interaction between self and other occurs not only in the communities in which we belong, but also between these communities and others. Learning to learn is defined as learning to receive new perspectives, to re-arrange and expand our own and to deepen our understanding � going into the uncomfortable space of 層 h at we do not know we do not know � . It involves creating different possibilities of understanding, trying to see through other eyes by transforming our own eyes and avoiding the tendency to want to turn the other into the self or the self into the other. Therefore, learning to learn is about learning to feel comfortable about crossing the boundaries of the comfort zone within ourselves and engaging with new concepts to rearrange our 'cultural baggage': our understandings, relationships and desires. Learning to reach out is defined as learning to apply this learning to our own contexts and in our relationships with others continuing to reflect and explore new ways of being, thinking, doing, knowing and relating. It involves understanding that one needs to be open to the unpredictable outcomes of mutual uncoersive learning and perceiving that in making contact with others, one exposes oneself and exposes others to difference and newness, and this often results in mutual teaching and learning (although this learning may be different for each party involved). Learning to reach out is about learning to engage, to learn and to teach with respect and accountability in the complex and uncomfortable intercultural space where identities, power and ideas are negotiated. This process requires the understanding that conflict is a productive component of learning and that the process itself is cyclical: once one has learned to reach out in one context, one is ready to start a new cycle of unlearning, listening, learning and reaching out again at another level.