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Music, Health and the Body: Cross-Cultural Perspectives focuses on the role of music in understanding new dimensions of health and healing through a unique relationship between identity, social interactions and the human body under the overarching paradigm of culture. The recent Covid-19 pandemic also has highlighted the significance of social and individual factors in people's perception of and their ability to cope with the pandemic situation globally through music. Based on inter-disciplinary themes, and contributions from highly qualified international cohort of scholars, the volume will command attention amongst historians, ethnologists, musicologists, sociologists, anthropologists, psychotherapists and other scholars in arts and humanities.

Covid-19 has been described as a'digital pandemic'. But who might the characterisation of the pandemic as'digital'leave behind? This timely book reconsiders the pandemic as'postdigital', examining tensions between a growing postdigital attitude of disenchantment with digital technologies and the increasing reliance on adapted modes of online practice mid-lockdown in both performance-making and healthcare.What emerged amidst the pandemic restrictions was a theatre that was unable to show its face, instead adapting into a variety of'covid-safe'remote forms of engagement, from'Zoom plays'to self-generating experiences sent by post. This book explores the ways that both performances and healthcare practices found proxies for direct touch and face-to-face encounters, deconstructing the way that care and resilience were spectacularized by political actors online.Liam Jarvis and Karen Savage explore aspects of care in relation to technology, spectacle and facilitation, and how new modes of delivery and the repurposing of theatre spaces that were displaced amidst the mass migration online have been enabling as well as controversial. The variety of case studies assessed includes internet memes, online films, performances of everyday resilience through social media and participatory theatre productions, including Thaddeus Phillips'Zoom Motel, Coney's Telephone and Nightcap's Handle with Care.

»We must declare war on the virus,« stated UN chief António Guterres on March 13, 2020, just two days after the WHO had characterized the outbreak of the novel Covid-19 virus as a pandemic. Elke Krasny introduces feminist worry in order then to develop a feminist cultural theory on pandemic frontline ontologies, which give rise to militarized care essentialism and forced heroism. Feminist hope is gained through the attentive reading of feminist recovery plans and their novel care feminism, with the latter's insistence that recovery from patriarchy is possible.

Innovation & Digital Theatremaking introduces a blueprint for how to think differently about Theatre, how to respond creatively in uncertainty, and how to wield whatever resources are available to create new work in new ways.In 2020, the COVID-19 pandemic had a colossal impact on theatre across the world. At a time when even the wealthiest and best-supported theatre companies in the world ceased all operations and shuttered their stages, the theatre company The Show Must Go Online (TSMGO) forged its way into a new frontier: the highly accessible digital landscape of online performance. In this book, TSMGO creator Robert Myles and Valerie Clayman Pye explore the success of TSMGO from a practical standpoint, offering insights and strategies that can help theatremakers at every level respond proactively to the future of Theatre in the digital era. Each chapter addresses a different aspect of the creative process and concludes with take-homes so readers can learn how to innovate rapidly, undertake research and development in order to create their own models, and cultivate their own theatrical communities. Written for theatremakers, directors, producers, and creatives of all levels of experience, this book will help readers to think critically and creatively about theatre and theatre pedagogues to understand how to train their students for the theatre of the future.

How did a group of higher education applied theatre placement students learn to connect with patients living with dementia, in an acute hospital setting, during a global pandemic? How did they navigate the liminal spaces of inhabiting a virtual space while striving for real-life presence and an equality of learning and knowledge exchange?In this book, authors and project leaders Dr Nicola Abraham PhD and Ma. Victoria Ruddock BSN present narratives and anecdotal examples of how the COVID-19 pandemic impacted the learning of these placement students and how they adapted the learning expectations of the project in order to account for the liminality of combining virtual and in-person space inhabitation.Through stories and reflections from the project the authors explore the meaning of a pedagogy of reciprocity and ways of navigating uncertainty. They discuss the essential need for horizontal team structures to enhance learning experiences and consider the uses of transmedia communication tools.

Die Pandemie hat die performativen Künste grundlegend verändert: Theatersäle wurden umgebaut, digitale und hybride Performance-Formate erfunden, Konzerte gestreamt, Quarantäne-Videos produziert und neue Möglichkeiten der Zuschauerpartizipation entwickelt. Der Band geht diesem dramaturgischen, räumlichen und institutionellen Wandel der letzten Jahre nach und fragt nach der postpandemischen Zukunft von Theater und Performance. Die Beiträge aus Theater-, Literatur- und Medienwissenschaft sowie drei abgedruckte Gesprächsrunden mit Theaterschaffenden skizzieren ein umfassendes Bild des Wandels und debattieren dabei auch Fragen von Nachhaltigkeit, gesellschaftlicher Teilhabe und Inklusion. Mit Beiträgen von Stefano Apostolo, Kai van Eikels, Sotera Fornaro, Ole Frahm, Maximilian Haas, Georg Kasch, Doris Kolesch, Mirjam Kreuser, Ramona Mosse, Matthias Pees, Yana Prinsloo, Alexandra Schneider, Holger Schulze, Marion Siefért, Antje Thoms, Doris Uhlich, Sandra Umathum, Daniele Vecchiato, Anna Wagner, Julian Warner, Noa Winter, Julia Wissert, Benjamin Wihstutz und Jana Zöll. Das EPUB ist barrierefrei.

Die Corona-Pandemie hat die Verletzlichkeit des Kulturbereichs schlagartig deutlich gemacht. Für eine performative Kunst wie die Musik trifft das ganz besonders zu. Auf einen breiten gesellschaftlichen Rückhalt können Musiker•innen heute jedenfalls nicht mehr so zählen wie in früheren Zeiten. Weder die rasante Zunahme von Vermittlungsangeboten in den letzten 20 Jahren konnte daran etwas ändern noch die Hilferufe der Musikschaffenden in der Pandemie. Ist die oft behauptetet Relevanz des Klassikbetriebs noch gesellschaftlicher Konsens? Woran liegt es, dass Konzerte oder Opern für die meisten Menschen heute keine herausragende Bedeutung mehr haben? Und warum werden diese Entwicklungen innerhalb der Klassikszene weitgehend ignoriert? Das Buch versucht, Antworten auf solche Fragen zu finden und dabei zu zeigen, weshalb die Bemühungen der Musikvermittlung bisher wenig gefruchtet haben. Es ist auch ein Plädoyer für einen Perspektivwechsel und das Beschreiten neuer Wege der Vermittlung von Musik. Ergänzend beleuchten Gespräche mit sieben profilierten Musikvermittler•innen das Thema aus unterschiedlichen Blickwinkeln.

Elliott Turner designs events, exhibitions and conferences for productions and companies all over the world. As Covid hit, to limit the spread of this virulent pandemic these activities became totally restricted. On the 19th March'20 he was working at Park Display in Bicester. As a diabetic needing to isolate, he left the office for what he thought would be just a few weeks. Then on 23rd March 2020 to find an activity to occupy himself he decided to mow the lawn. The garden refuse bin was full so he piled the grass clippings at the end of the garden. The clippings looked like a melting snowman, so he put some sticks in with a pair of gloves on, a scarf and a carrot nose with his Panama completed the picture. He posted it saying: ‘This self-isolation is a piece of piss but I think my grass snowman is melting!'On the 24th March the bin was emptied, so he filled the bin and put the hat, scarf and carrots on the bin posting: ‘To all of you worried about Mr Grassy the snowman, he's now self-isolating.'On the 25th March he power-washed the patio, scoring the letters RIP in the dirt in front of the bin: ‘Sad news everyone. Mr Grassy didn't stay in the bin so now they came and took him away. RIP Mr Grassy.'On the 26th March Elliott's eldest son took a photograph of him praying beside the lawnmower in a recreation of Millet's ‘The Angelus'and posted: ‘So today we held a quiet service for Grassy, to follow the Covid19 direction there was just one in attendance, sorry Millet.'Little was he to know that there were to follow 101 days of art recreations in homage to favourite works of art and to artists whose work he has always admired. This book is a loving tribute to my wonderful mother and how hard she worked trying to educate my brother, sister and I into the joys of art.

Pandemic Performance chronicles the many ways that people are surviving/thriving through performance in a global pandemic.Covering artists and events from across the United States: from New York to California and from South Dakota to Texas, the chapters are equal parts theory and practice, weaving scholarship with personal experience from contributors who are interdisciplinary artists, scholars, journalists, and community organizers providing unique and invaluable perspectives on the complicated work of resilience during COVID-19. This study will hold interest for students and scholars in the performing arts, arts, and social justice as well as professional artmakers and creative community organizers.

A Psychotherapist Paints is a unique account of an internationally known psychotherapist and group analyst's struggle to bring together his psychological experience and his interests and talent as an artist. This book describes a body of painting that was responsive to a major existential challenge, the COVID-19 pandemic, but which also comes from deeply personal experience; the paintings are a mirror of life through the decades. These paintings, fifty of which are included here in full colour, were mainly presented online to groups both small and large, who were invited to participate in a dialogue that became a vital part of the developing project. The value of this dialogue is reflected in the author's concept of the'artist's matrix', describing the social context in which an artist produces and presents their work. The paintings, together with the autobiographical narrative and the groups'generativity, combine to produce a moving testament to our times. Intrinsic to A Psychotherapist Paints is a question about what makes us creative and how creativity transforms our lives. The result is a work of both artistic and psychological power that will inspire psychotherapists, art psychotherapists and artists themselves, and will point to exciting new possibilities in all these fields.

The Quarantine Atlas is a poignant and deeply human collection of more than 65 homemade maps created by people around the globe that reveal how the coronavirus pandemic has transformed our physical and emotional worlds, in ways both universal and unique. Along with eight original essays, it is a vivid celebration of wayfinding through a crisis that irrevocably altered the way we experience our environment.In April 2020, Bloomberg CityLab journalists Laura Bliss and Jessica Lee Martin asked readers to submit homemade maps of their lives during the coronavirus pandemic. The response was illuminating and inspiring. The 400+ maps and accompanying stories received served as windows into what individuals around the world were experiencing during the crisis and its resonant social consequences. Collectively, these works showed how coronavirus has transformed the places we live, and our relationships to them.In The Quarantine Atlas, Bliss distills these stunning submissions and pairs them with essays by journalists and authors, as well as notes from the original mapmakers. The result is an enduring visual record of this unprecedented moment in human history. It is also a celebration of the act of mapping and the ways maps can help us connect and heal from our shared experience.

Inicjatywa cyklicznego publikowania prac w ramach serii „Twórczość i Edukacja” wyrosła z potrzeby stworzenia miejsca spotkania badaczy i praktyków zainteresowanych rozwijaniem oraz wspieraniem zdolności twórczych dzieci, młodzieży i osób dorosłych. W serii publikowane są prace poruszające problematykę edukacyjnych oraz społeczno-kulturowych uwarunkowań rozwoju szeroko pojętej aktywności twórczej w różnych dziedzinach.

This edited collection gathers UK and international artists, academics, practitioners, and researchers in the fields of contemporary performance, dance, and live art to offer creative-critical responses to the impact of the COVID-19 pandemic on their work.Themes addressed in these case studies include the ways in which liveness functions across digital platforms, the new demands on audiences and performance-makers, and the impact on international festivals as the digital removes geographical and locational restrictions. Brought together, these examples capture the creative activity and output that this unexpected cultural moment has provoked. Creative-critical responses interrogate what the global pandemic has taught us about what it is to make live work during lockdown and explore what the future of performance-making in a post-COVID world might look like. For all scholars and performance-makers whose work brings them into the sphere of contemporary art and culture, this is an essential and stimulating account of practice at the beginning of the 2020s.