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What do the best youth arts programmes look like, and how can young people develop through them? This book highlights the conditions needed for youth arts work to be successful, using six international, best practice case studies.
What do the best youth arts programs look like, and how can young people develop through them? This groundbreaking book highlights the conditions needed for youth arts work to be successful, using six international, best practice case studies.
Community theatre is an important device for communities to collectively share stories, to participate in political dialogue, and to break down the increasing exclusion of marginalised groups of citizens. It is practised all over the world by growing numbers of people. Published at the same time as a video of the same name, this is a unique record of these theatre groups in action. Based on van Erven's own travels and experiences working with community theatre groups in six very different countries, this is the first study of their work and the methodological traditions which have developed around the world.
This edited volume broadens the understanding of the media arts at a global scale bringing together practices and ideas from artists and art educators from around the world. Authors explore issues of cultural and social diversity in fields of education, media theory, and critical theories of education and pedagogy with particular attention to digital technologies' impact on visual arts learning. Researchers utilize a range of methodologies including participant-researcher ethnographies, action research, case study, and design based research. These artists and art educators share new research about the pedagogical and theoretical aspects of media arts in educational systems that are facing unprecedented change. This volume begins to map why and how experts are working within networked society and playing with digital innovations through media arts education as a critical and creative practice.
The Arts and Youth at Risk: Global and Local Challenges is a contribution to the lively international dialogue about creative and arts-based interventions for young people categorized as “at risk”. It contains chapters written by internationally recognized researchers and practitioners in arts education, youth arts and criminology. The instrumental benefit of arts participation for disadvantaged and marginalized young people is an area of increasing interest worldwide. This body of research highlights the positive educational and social outcomes of arts programs within and outside the schooling system. It also interrogates the ethics of arts interventions in a diverse and socially inequitable global context. The book questions the motivations of those working with “at risk” youth and challenges practitioners to ensure that their work with marginalised communities is efficacious as well as socially and politically responsible. Professor Shirley Brice Heath describes this book as “philosophically complex and pragmatically provocative”. She commends the editors and authors for taking “the brave stance of interrogating the consequences, trajectories, and effects of participation in the arts by young people – especially those who carry labels such as at risk.” She calls attention to the critical need as outlined in this volume to consider contextual background as well as an international perspective on children and youth when planning and delivering social and arts-based interventions.
This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.
The research question addressed is: how does an international art exchange affect the perspectives and understandings of the participants? The motivating factor for this capstone is that teachers are preparing students to be future leaders and socially conscious citizens in an increasingly global world. Experiences that promote global awareness and cross cultural knowledge should be part of the education process. This paper examines the effects of Flying Art, an international art exchange program, on global perspectives and understanding of the participants involved. The results of the study rely on data collected from a semi-structured interview process. Furthermore, this capstone explains general qualities of meaningful global lessons for teachers and students.
In this book academics, practitioners and scholars from all over the planet present relatively heterogeneous perspectives to produce something of the homogenous whole that youth work might be understood to be. This promotes the understanding that to lock down youth work in notional stasis (bolt it into a 'carceral archipelago') would be the antithesis of practice, which would effectively destroy it as youth work. Other writers have effectively tried to achieve just this, or perhaps identified (put a flag in) what they see (or want to be) the 'core' of youth work practice. But youth work is not an apple. A global and historical perspective of youth work shows it to be a relentlessly developing range of responses to a persistently growing and shifting range of phenomena, issues and directions presented by and to societies and the young people in those societies. Here the authors offer a set of responses from within the incessantly metamorphosing field that can generically be called 'youth work; they do this in this time, from many places and a diversity of identities, but they all identify what they present professionally and/or academically with what they agree to be the glorious rainbow palette that youth work is.
In this book academics, practitioners and scholars from all over the planet present relatively heterogeneous perspectives to produce something of the homogenous whole that youth work might be understood to be.