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The article presents an instructional resource illustrating how art educators can integrate culturally responsive education (CRE) and Afrofuturism into their pedagogy to facilitate cultural pride for Black students and appreciation of Black artists and culture for non-Black students. It highlights the community partnership with the local artist collective known as Black Art Speaks as a resource for students at Frederick Douglass Elementary School in Cincinnati, Ohio.

This descriptive quantitative study determined the warm-up exercises and the extent of these exercises of thirty (30) Philippine traditional dance performers of Kulintayaw Performing Artists Collective of General Santos City in preparation for Philippine Traditional Dance performances. The data were gathered using a validated self-made research questionnaire. It was found that the respondents were often doing static and dynamic exercises, with mean scores of 3.41 and 3.48, respectively, which corresponds to a high extent of preparation before performing Philippine traditional dance performances, as reflected in the overall weighted mean of 3.45. Results showed that most respondents performed both static and dynamic exercises, with frequency distributions varying from 23 to 30, which corresponded to often performing different warm-up exercises, respectively. The performers do shoulder stretch, standing shin stretch, quadriceps stretch, jumping jacks, and walking knee hugs more frequently than upper back stretch, adductor stretch, arm circles, lunges, and squats. This means that some exercises were only performed occasionally by the respondents. Performers were encouraged to further improve and do warm-up exercises prior to physical activities, for it enhances their performance in Philippine traditional dance. [ABSTRACT FROM AUTHOR]

Sarkis Zabunyan, one of the prominent figures in Turkish contemporary art, was selected to represent the Turkish pavilion in the Venice Biennale in 2015. Since 2015 was the centennial of the Armenian Genocide, a genocide that has not been recognized by the Turkish Republic for more than a hundred years, and Sarkis being an Istanbul Armenian born and raised in Turkey, the selection caused quite a stir and sparked a public discussion on art and collective healing when it was announced. As a result, the catalog of Sarkis's work Respiro was subjected to censorship. Through this censorship case, this article scrutinizes various reconciliation discourses developed in Turkey in the early 2000s regarding the Armenian Genocide and how contemporary art could possibly engage/disengage with those discourses. [ABSTRACT FROM AUTHOR]

This article documents and analyses a phenomenon of collectivisation involving approximately forty artist collectives that emerged in Porto, Portugal between the late 1990s and 2013, with a particular focus on how horizontal collectivism led in turn to new models of citizenship and participatory democracy. I present an overview of historical precedents concerning certain aspects of this phenomenon, especially in relation to Portugal's relatively recent (1974) end to forty-eight years of dictatorial rule. Artists came to play an important role in developing and spreading the democratic values that were subsequently enshrined in the Portuguese constitution of 1976. Recently, the Covid-19 pandemic came to prove that the revolution's legacy is still alive, and the constitutional principles are still orienting the Portuguese artists. Today's growing neoliberalisation of democracy raises the question of how the Portuguese constitution remains the main guarantor of the citizen's most fundamental right to participatory democracy and to be more active citizens. [ABSTRACT FROM AUTHOR]

In this essay, I examine memory optimization as both a fundamental component of digital operations and a feminist form of cultural resistance to digital colonialism through a multimedia installation by the Latinx artist collective Cog•nate Collective. Through close reading, I demonstrate how their 2021 installation And will be again...transforms the work of memory optimization through an ecofeminist countermapping of the US-Mexico border and its histories of data extraction through dispossession. I analyze the various components of the multimedia installation, including the collaborative process of Indigenous language translations of an eponymous passage by Gloria Anzaldúa. I frame my analysis through a sociotechnical reclamation of the computer science term rematerialization. In doing so, I reorient the term rematerialization to showcase how Latinx artists recompute historical data of the US-Mexico borderlands to produce anticolonial collective memories as spiritual technologies of resistance. [ABSTRACT FROM AUTHOR]

Background: Migrants in Singapore face unique mental health risk factors and barriers to formal care. Within this context, the Migrant Writers of Singapore (an arts collective) has organised a community-based intervention to address mental health needs, the Mental Health Awareness and Well-Being Festival. Aim: To understand migrants' motivations for organising and participating in the Festival as a form of community-based mental health support, as well as their perspectives on the role and effectiveness of such interventions. Methods: Thematic analysis of semi-structured interviews conducted in October and November 2023, with 10 members of MWS involved in the Festival. Results: Interviewees were primarily motivated by personal experiences of giving or receiving peer support, or finding relief through MWS's arts-based activities; and to a smaller extent by the need for greater mental health awareness among migrants. Interviewees saw the value of community-based interventions in: (i) easing loneliness, (ii) establishing solidarity, (iii) facilitating communication in help-seeking, and (iv) building longer-term social networks. Conclusions: Findings suggest that community-based interventions may be an enabler of peer support, and help address underlying mental health risk factors. Arts-based activities can enhance these interventions, though further research is required to evaluate concrete outcomes, and ascertain the wider applicability of these findings. [ABSTRACT FROM AUTHOR]

This paper examines representations of Ukraine's civil society and community building in artistic documentaries, released in the wake of the post-EuroMaidan national revival, before the full-scale Russian invasion. Drawing on interviews with filmmakers, the paper analyzes the themes and style of Nadia Parfan's cine-symphony Heat Singers (2019) about an amateur folk choir at a municipal heating plant; Oksana Karpovych's atmospheric ethnography of regional commuter trains in Don't Worry, the Doors Will Open (2019); and Oleksiy Radynski's reflections on cultural spaces in Landslide (2016), a portrait of a bohemian art collective, and Infinity According to Florian (2022)--a film about the architecture of the Soviet space age threatened by realty developers. A running thread uniting these films is a quest for a communal public sphere, as well as a reckoning with the legacy of Soviet cultural institutions and material infrastructures. Sensitive to the inequalities and injustices of Ukraine's neoliberal present, these films show what it means to have a community and to build horizontal relationships between generations and diverse social strata. In contextualizing these themes, the paper points to Ukraine's efforts in rediscovering the forgotten and suppressed pages of the past and promoting the country's rich cultural traditions. [ABSTRACT FROM AUTHOR]

The article examines how the contemporary artists describe the Matsu Islands through their artworks. Topics mentioned include the focus of contemporary artists on the shore and the intertidal zone, the boundaries between activism and tourism and biophysical and metaphysical, and the fluid link between the Pacific Ocean and the island nation of Taiwan.

Copyright of Forschungsjournal Soziale Bewegungen is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This text detects a current context collapse within the independent scene of dance and choreography. It looks at the political potential of artist-driven spaces and asks if and how they could provide a forum for debate and collective articulation. With the platform and space höjden studios in Stockholm as the main example, the text connects it to other practical initiatives such as PAF (Performing Arts Forum), ICC (Imaginative Choreographic Center and PIM (Para Institutional Models). The text briefly touches on theories of the commons and aesthetic autonomy in order to raise a concern about the collective attention to art works and artistic practices, and propose a direction where the production of discourse within common spaces centres it. [ABSTRACT FROM AUTHOR]

In August 2023, a collective of arts and humanities scholars undertook a mobile residency on the Far West Coast of South Australia, along the Great Australian Bight. Moving through deeply storied country that is largely marginal and neglected in the cultural and political imaginary, and negotiating our relation to this displacement as settler-colonial scholars with the privilege of mobility, the residency sought creative and critical approaches to self, place and others that might build capacity for shared reparative futures. Encounter, embodiment and entanglement – modes of staying with shadows cast by global forces of capitalism, industrialization, colonization and climate change and, just as importantly, staying clear of research methods that rehearse epistemic violence – formed the core of our intentionally indeterminate methodology. In keeping with a framework that accepts the contingency of knowledge and knowledge production, we offer not findings but seekings: invitations to engage in pursuing new collaborations, methods and politics for expanding imaginaries of materiality and connection, resistant to the dematerialization, dissociation and disregard inherent to the contemporary global order. [ABSTRACT FROM AUTHOR]

The article is a book review of "Art in the After-Culture: Capitalist Crisis & Cultural Strategy" by Ben Davis. The book explores the impact of cataclysmic events such as climate change, the election of Donald Trump, the COVID-19 pandemic, and the Black Lives Matter demonstrations on the definition of art and the role of artists. Davis argues that cultural life has largely migrated to virtual platforms controlled by large technology corporations, and he criticizes the "aestheticization of capitalism" exemplified by phenomena like non-fungible tokens (NFTs). He also examines immersive art experiences like Meow Wolf and raises concerns about art's contemporary meaning and its role in society. Davis suggests that art can serve as a warning, a means of remediation, or a source of positive vision in addressing social problems. He concludes that art may even be a survival skill in the "after-culture" and emphasizes the importance of art and history in crafting a better future. [Extracted from the article]

This article investigates the role of scenographics in staging climate crisis cultures. The art collective SUPERFLEX's installation It Is Not The End Of The World (Copenhagen 2019) explored human-world relations through techniques of set design, lighting, sound and costume. Central to this was a detailed 1-to-1 scale replica of the UN Building toilets re-imagined as an archaeology of a future without humans. While described as an 'installation', It Is Not... is adopted as a case study that exemplifies the role of scenographics in irritating a sense of place and is argued as affording insight into the assemblages of place, world and atmosphere. Drawing upon Global South philosopher Arturo Escobar's 'pluriversal design', I offer an argument for scenographics as a methodology when investigating world feelings in an era of climate crisis. 'Pluriversal scenographics' is proposed as a critical framework for the staging of nondualistic, relational and more-than-human 'possible reals'. Pluriversal concepts are proposed as a model for renewing the political purpose of scenographic practice as a methodology for investigating world feelings. I conclude with a call for a renewed political task of scenography and the value of this perspective for theatre makers, arts professionals and cultural geographers. [ABSTRACT FROM AUTHOR]

Art libraries play a vital role in building, managing and sustaining collections to support art scholarship. Ensuring that these valuable collections remain available long into the future requires innovative thinking about collection development, resource sharing and stewardship. The specialized and decentralized nature of the art research collective collection suggests that multi-institutional collaboration is an important option for art libraries as they seek sustainable pathways for their collections. Findings and recommendations from the Operationalizing the Art Research Collective Collection (OpArt) project show that data-driven analysis, as well as the practical experiences and lessons learned from real-world partnerships, are important sources of intelligence for art libraries as they address their sustainability challenges through collaborative approaches. [ABSTRACT FROM AUTHOR]

Copyright of Ayer: Revista de Historia Contemporánea is the property of Asociacion de Historia Contemporanea and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The topics addressed in this article stem from the interdisciplinary research project "Neuroscience, Creativity -- Neural Connections in Artistic Creation," initiated by the Institute for Multidisciplinary Research in Art at the "George Enescu" National University of Arts in Iași. These topics have been discussed by experts in the medical and artistic fields during a conference organized in collaboration with "Grigore T. Popa" University of Medicine and Pharmacy in Iași and the "I. I. Mironescu" Cultural Center. We aim for an interdisciplinary approach, which we consider relevant and of interest, focusing on understanding how the brain functions and the intricate neural networks engaged during the creative process, seen as the key to developing and enhancing creativity. Additionally, within the complex scope of this research theme, we will highlight several beneficial effects of art on individual and collective health. Art serves as an alternative energy source for the brain, stimulating connections between mental and physical processes. [ABSTRACT FROM AUTHOR]

The article in the Wagner Journal discusses an innovative community project in Birmingham that presented a unique production of Der fliegende Holländer at the Royal Birmingham Conservatoire. The performance featured a diverse cast of musicians clad in sailor-inspired attire, and the absence of a traditional set was creatively compensated by utilizing the natural features of the venue. While the production had some technical and balance issues, it showcased the talents of amateur performers and reinforced the accessibility of Wagner's opera to a wider audience. [Extracted from the article]

This article examines the enduring influence of Ancient Egyptian civilization in contemporary Arabic poetry, focusing on the ways poets incorporate elements of Egypt's ancient past into their literary works to preserve its memory for future generations. The subject, scope, and importance of this study lie in the exploration of the engagement with Ancient Egypt in various aspects, such as celebrating architectural marvels and acknowledging the wisdom and achievements of the civilization that once thrived along the Nile. The purpose of this research is to underscore the significance of the past in shaping present-day literary and cultural expressions, as well as the role of art in the construction of collective identity. The methodological framework involves a close analysis of selected poetic works, paying particular attention to the interplay between different cultural and historical influences, and demonstrating the vitality and adaptability of the Arab poetic tradition. In addition, this study highlights the implications of Ancient Egyptian civilization in contemporary Arabic poetry beyond the realm of literature, emphasizing the necessity of reevaluating the relationship between past and present and fostering a sense of continuity and connection with a shared history. [ABSTRACT FROM AUTHOR]

On November 23, 2022, three original core members of the all‐woman art collective DISBAND—Ilona Granet, Donna Henes, and Martha Wilson—sat down to discuss the therapeutic effects of collaborative performance, the role of comedy in addressing traumatic topics, and the activist potential of feminist collectivizing. Between 1978 and 1982, DISBAND performed in a diverse cultural circuit in downtown New York City where the burgeoning performance art, no wave, and feminist art scenes collided. The multidisciplinary backgrounds of the women in DISBAND matched the hybridity of this cultural circuit; other members included Barbara Kruger, Ingrid Sischy (former editor in chief of Artforum), Diane Torr (performance artist, drag king, and gender activist), Barbara Ess (photographer and member of the no wave band Y Pants), and Daile Kaplan (photographer and drummer of The Gynecologists). The women of DISBAND approached the song format fluidly, combining hymn, anthem, cheer, and protest movement (stomping, chanting, clapping) with rapid‐fire improvisation. DISBAND's songs reflected the members' personal and collective political concerns, often focusing directly on female oppression. The women's use of costumes, role‐playing, and DIY instruments brought levity and playfulness to what they describe as an apocalyptic moment. [ABSTRACT FROM AUTHOR]

This article highlights the expansion of traditional concepts of transitional justice in Colombia to include an emphasis on human rights and the empowerment of marginalized communities. It describes how grassroots truth processes, collective art projects, and memory work have been essential to a transitional justice experiment that challenges dominant national narratives and power structures. It argues that Colombia's experience may provide lessons for other political communities across the globe that are struggling to address legacies of past injustice, ongoing structural violence, and a rise in xenophobic nationalism. More broadly, it examines how this experiment might inform a model for political imaginaries based on social connections across differences—one that can compete with the power of nationalist myths of singular community. Importantly, it suggests the opportunity for horizontal borrowings via translocal networks of innovative human rights practices worldwide, not necessarily mediated by Global North institutions. This illustrates the contention that human rights globalization can operate through local advocacy. [ABSTRACT FROM AUTHOR]

This article focuses on the establishment of new laboratories for radio research in Germany between 1928 and 1945, whereby the new discipline of radio studies and the collective work of artists, engineers and humanities scholars crucially advanced the development of the German Hörspiel (radio play). In turn, the embedding of the Hörspiel in these new 'radio labs' serves as an instructive prism for understanding the interdisciplinary and simultaneously highly political nature of these endeavours. Examining three case studies for radio research in this period, in Berlin, Leipzig and Freiburg, the article demonstrates how each adapted the laboratory culture of the engineering sciences to the needs of research in the humanities and their relationship to changing political conditions during the Weimar and National Socialist periods. It highlights a forgotten chapter in radio history and humanities research, particularly amidst the current enthusiasm for 'humanities labs' in the era of digital humanities. [ABSTRACT FROM AUTHOR]

In recent years, there has been a growing interest in artist-led collectives with high-profile recognition within contemporary art mega festivals, prizes, and biennials. Yet, these amorphous entities and initiatives tend to be framed either through their politically motivated actions or as a critique of the notion of the single author or 'artist-as-genius' mythology. This article builds upon this discourse to shift the emphasis onto both interpersonal and socio-political relationships that constitute artist-led collectives in order to explore their complex role in convening and placemaking and what this might mean for both policymaking and research. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the role of dance in socialist world-building, specifically focusing on the example of "The East is Red," a song and dance performance in China in 1964. The performance aimed to popularize the narrative of China's communist revolution and promote multi-ethnic conviviality as central to the nation-building narrative. The article discusses the influence of Soviet socialist realism on Chinese cultural productions and the complexities of the Chinese concept of "minzu" (ethnicity) in relation to national identity. It also highlights the cosmopolitan nature of revolutionary dance in China, with diasporic dancers playing key roles in shaping the art form. Additionally, the article discusses the relationship between ballet and politics in mid-20th century China, highlighting the influence of Soviet ballet on Chinese culture and the incorporation of revolutionary themes into ballet performances. It examines the creation of ballets such as "The Red Poppy" and "The Red Detachment of Women" as examples of ballet's transformation into a popular and revolutionary art form in China. The article also explores the role of Soviet ballet specialists in training Chinese dancers and the continued influence of Soviet ballet techniques in Chinese dance education. Finally, the article discusses the contemporary portrayal of Chinese dance in the Shenyun dance franchise and its connection to socialist propaganda. [Extracted from the article]

This article examines art collectives in Venice that use their artistic and cultural projects to act as public entrepreneurs seeking to improve urban welfare and elicit social change for reasons of societal betterment. These ventures are developed against a backdrop of ongoing socio-economic challenges arising from exploitative tourism in the city. Interviews with some art collective members revealed that: (1) their local rootedness is shaped by issues of gentrification and a search for a city that benefits all; (2) their core values are translated into artistic propositions addressing local demands and institutional voids and (3) their private goals have a public-service background. Our study unveils a unique type of entrepreneur that mediates local demands but has no significant impact at the policy level, thus only scratching the surface of institutional change. This insight contributes to our understanding of artists as public entrepreneurs who, despite their use of activist language channelling public demands, are constrained by the very institutional voids they seek to close. [ABSTRACT FROM AUTHOR]

This paper explores "movements" and their resonances with the works of Filipina visual artists Brenda Fajardo, Anna Fer, Julie Lluch, and Imelda Cajipe Endaya, co-founders of the feminist art collective Kasibulan. Referencing the alimpuyo, the title of an exhibit by the collective as well as an evocation of a whirling pattern, Kasibulan's activities in their initial stages are annotated in this study, which offers a critique of women's subjection and emphasizes collective actions to support and empower women. This paper also contextualizes the artists' works via Kasibulan and situates these within women's movements, socio-political upheavals, and the shifting discourse in contemporary art. It exemplifies how artists themselves expand the parameters of art through their work in advocacy, discourse and pedagogy, outreach, and collectivity. [ABSTRACT FROM AUTHOR]

The Odeimin Runners art collective seek paths to create work outside of colonial institutions and systems and instead think about what it would mean to mutually nurture communities and relationships. In our practice, we think through and weave together Indigenous and Black/Caribbean philosophies such as the teachings of the odeimin (strawberry) plant, Dolleen Manning's Mnidoo—worlding, and the relational thinking of Glissant. Through community engagement and the development of an online story map incorporating process cinema methods, Odeimin Runners reflect an Indigenous worldview of All Our Relations which intuits a pluriversal world. Bringing together stories from different cultures and ways of being and experiencing the world, we make connections across time and dimensions. The hope in this "acolonial" work, on the outskirts of colonial frameworks, lies in producing nourishment that contributes to the flourishing of the multiple, interconnected worlds. [ABSTRACT FROM AUTHOR]

The present article aims at illustrating the role of the contemporary museum as a conscious central stakeholder that strengthens the community and connects in the era of participatory culture with different types of audiences. Built in two parts, the article points out the main concepts of the new museum philosophy as explored in the expertise in the field and brings on a case study that focuses on the analysis of the cultural mediation program built for an original thematic exhibition, centered around the exploration of the urban future and having as its conceptual stake to draw the viewer into a process of reflection on the different ways of perceiving the surrounding society. Understanding social issues, remembering the past, exploring the ecosystem, acting on change and imagining futures are the invisible problems launched for debate through the creative laboratory of the members of the ArtiViStory Collective whose artworks could be explored within the exhibition. Their visual narratives, gathered in the various sections of the exhibition, have invited the viewers to respond to a series of questions that envisage the role of art in the community, the way we perceive the world around us, the stories that can be told about our past, the need for engaging young people into building inclusive communities or the way we can imagine our future. Through a wide variety of formulas for exploiting the potential of the graphic imaginary (visual documentaries, comic strips, animations, sequential illustrations), the exhibition offers an overview of this space of creative investigation of the urban imaginary and social identity, rendering sequential art not only as a tool of representation but as a catalyst for activating the collective imagination, which can serve to coagulate the common interests of the community. At the same time, the cultural mediation program conceived for the exhibition is an important component that creates engagement and participation of young audiences in a discourse on the future of our community. [ABSTRACT FROM AUTHOR]

This work explores the affective or felt experiences of trauma that artwork creates for audiences. The author analyzed 63 oil paintings from the Japanese American National Museum Hisako Hibi Oil Painting Collection to uncover themes of coping mechanisms within the collective race-based trauma of internment. The author concluded that the paintings evoke feelings of dissociation, aversion, and maternal disruption/continuity for viewers. The trauma conveyed and the emotions elicited from the paintings speak to the collective experience of Japanese American internees, Isseis (first-generation immigrants), and mothers, as well as the individual story of artist Hisako Hibi. [ABSTRACT FROM AUTHOR]

Selene Wendt's review "Creating Space for Enwezor's Curatorial Vision" addresses a small selection of the many works featured in Sharjah Biennial 15 (SB15). Conceived by Okwui Enwezor and curated by Hoor Al Qasimi, SB15 included more than one hundred and fifty artists and collectives, over three hundred works in a variety of mediums, and numerous performances that took place in multiple venues. Building on Enwezor's biennial concept and the many conversations she had with him during his lifetime, Al Qasimi created a space where Enwezor's curatorial vision flourished. The profound influence of his groundbreaking approach to curating was omnipresent. Wendt focuses on artists who worked closely with Enwezor, including María Magdalena Campos-Pons, Isaac Julien, Ibrahim Mahama, Yinka Shonibare, and Carrie Mae Weems, among others. Additionally, Wendt highlights artists whom he may not have worked with, yet whose artistic practices and perspectives still honor the legacy of a curator who shifted the world's understanding of how contemporary art could break free from Eurocentric modes of thinking to convey new narratives, perspectives, histories, and futures. This review honors the legacy of Okwui Enwezor while also acknowledging the impact of Al Qasimi's curatorial approach, which extended beyond the initial exhibition concept in ways that make SB15 a milestone event. [ABSTRACT FROM AUTHOR]

Describing the artistic and curatorial work of the Indonesian art collective Hysteria over the last 15 years, this paper considers public art as a practice of devising relations with various urban sites and actors. I focus on Hysteria's core strategy of organising art festivals and exhibitions in kampungs – working-class urban neighbourhoods – with the aim of creating novel spaces for artistic expression, showing that the kampung serves both as inspiration for artistic experimentation and improvised public space in the absence of proper art infrastructure. Further, kampung space allows economically precarious artists to engage the city, that is, explore its social make-up and uncover economic opportunities. A long-term perspective on Hysteria's work reveals that activities provide members as well as involved artists with valuable urban knowledge and connections. Turning the kampung into a subject of public art and infrastructure of encounter through what I call the ' kampung formula', Hysteria managed to establish itself as a representative of the poor and key interlocutor of urban development agencies, becoming eligible for a number of pro-poor project grants. Describing the relational network of art, kampung and the wider city, I therefore propose to see public art as a kind of 'infrastructural adventurism' that provides glimpses into various aspects of both formal and informal economies in the Indonesian city and extracts knowledge and value from marginal urban places. [ABSTRACT FROM AUTHOR]

Our contribution discusses the practice of Panem et Circenses (Alessandra Ivul and Ludovico Pensato), an art collective whose work revolves around food and agriculture. After founding Panem et Circenses in Berlin, Ivul and Pensato opened an artist-run exhibition space devoted to food-based practices in Bologna. Since 2017, they have lived at Ca' Inua, a farm in Marzabotto, on the Bologna Apennines. Ivul and Pensato see their experimentation with regenerative and sustainable farming as a form of performance art, an embodiment of their engagement with philosophy and theory. Their work participates in discourses—with a range of variations that build on Indigenous sciences/knowledges, posthumanist and new materialist philosophies, and environmental arts and humanities—that recenter symbiosis, relationality, and human/more-than-human entanglements. Our methodological approach relies on critical, art historical, and visual studies tools and is informed by ethnographic observations on site as well as an interview with the artists published here. We begin to address the specificity of Panem et Circenses' relationship with the lands that they care for and locate their experience in the larger landscape of Art Farming practices. Panem et Circenses translate theoretical frameworks into everyday interactions, hands-on activities, community-building, and long-term planning for the ecology of Ca' Inua. [ABSTRACT FROM AUTHOR]

Brazil's favela residents have long challenged the dominant media and social narrative that has, for decades, described them via discourses of criminality. This article examines the work of Redes da Maré, a civil society organization that offers cultural spaces and services for community-based creation and diffusion of the arts in its namesake favela. We employ the concepts of the social imaginary as well as individual and collective agency to investigate whether and in what ways a service-providing civil society organization that has adopted a cultural development approach encourages participants' democratic attitudes and behaviors at the organizational and community level to challenge existing systemic social oppression by fostering participation in the development process and offering a platform for the expression of the voices of those it engages. Our analysis is based in part on interviews with 4 lead organizers and participants in Redes' Free Dance School of Maré. Our analysis contributes to a more nuanced understanding of the roles the arts can play in encouraging democratic agency and possibility among favela citizens despite adverse political and social conditions exacerbated by neoliberal beliefs and policies. [ABSTRACT FROM AUTHOR]

Copyright of Religación: Revista de Ciencias Sociales y Humanidades is the property of Religacion: Revista de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article introduces the construct of psychological ownership, the feeling that a target, or a part of that target, is "mine," to the arts consumption literature. I suggest that the features of experiential consumption identified by Holbrook and Hirschman (1982) create both a challenge and an opportunity for the arts to inspire the development of consumer psychological ownership. Specifically, arts experiences have the potential to fulfill multiple needs that underlie psychological ownership, particularly the relatively understudied need for stimulation. I describe multiple routes via which consumers can develop both individual psychological ownership of arts experiences and collective psychological ownership of artists and arts organizations. Finally, I offer suggestions for how arts organizations can engage with consumers to enhance the development of psychological ownership, enabling them to gain access to the many beneficial outcomes of consumer psychological ownership for both the consumer and the organization. [ABSTRACT FROM AUTHOR]

The article titled "The New Public Art: Collectivity and Activism in Mexico Since the 1980s" analyzes the sphere of public art in Mexico from the late 20th century to the present day. The book, edited by Mara Polgovsky Ezcurra, presents ten chapters written by academics and eight dossiers written by artists and collectives. The objective of the book is to surpass the traditional notion of public art and position theory and praxis as living elements in the construction of meaning. Additionally, the book is situated between the earthquakes of 1985 and 2017, and examines how these events have affected the conception of the public in Mexico. [Extracted from the article]

The article "Philosophy and Critique in Latin America: From Mariátegui to Sloterdijk" analyzes the contributions of various Latin American and European thinkers in relation to philosophy and critique in Latin America. It highlights the importance of the thinking of José Carlos Mariátegui, Enrique Dussel, Bolívar Echeverría, and Roger Bartra in understanding modernity and coloniality in the region. It also examines the influence of European thinkers on Latin American intellectualism, addressing topics such as colonialism, emancipation, and violence. Additionally, it emphasizes the importance of art as a collective intervention that destabilizes the instrumental logic of capitalism. [Extracted from the article]

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)