Scientific Essay from the year 2010 in the subject Cultural Studies - Miscellaneous, San Diego State University, language: English, abstract: Creating a twenty-first-century city is not so much a question of technology as it is of jobs, dollars and quality of life. A community's plan to reinvent itself for the new, knowledge-based economy and society therefore requires educating all its citizens about this new global revolution in the nature of work. To succeed, cities must prepare their citizens to take ownership of their communities and educate the next generation of leaders and workers to meet the new global challenges of what is now being termed the "Creative Economy.” At the heart of such efforts must be recognition of the vital roles that art and technology play in enhancing economic development and, ultimately, defining a "creative community" -- a community that exploits the vital linkages among art, technology and commerce. A community with a sense of place. A community that nurtures attracts and holds the most creative and innovation workers. Those communities placing a premium on cultural, ethnic, and artistic diversity, reinventing their knowledge factories for the creative age, and building the new information infrastructures for our age, will likely burst with creativity and entrepreneurial fervor. These are the ingredients so essential to developing and attracting the bright and creative people to generate new patents and inventions, innovative world-class products and services, and the finance and marketing plans to support them. Nothing less will ensure a city's economic, social, and political viability in the twenty-first century.

"Composes the recollections of socially engaged theater makers and performers to discuss the challenges and adaptations of the field. Meeting the Moment explores experiences of a diverse range of progressive theater and performance makers in the U.S., in their own words, since 1965. These performers, often unknown beyond their immediate audience, articulate diverse influences. Curated stories from over 75 interviews and informal exchanges offers insight into the field and point out limitations due to discrimination and unequal opportunity for performance artists over the past 55 years. They also reflect on how artists are educated and supported, what content is deemed valuable and how it is brought to bear, as well as which audiences are welcome and whether cross-community exchange is encouraged. The book's voices from the field point to more diverse and inclusive practices and give hope for the future of the art"--

This anthology explores the ways in which theatre and performance functions at the interstices of contemporary local and global networks. Theatre and performance occurs in time and space and exists between the audience and performer as a communicative event. This local world of experience and human interactivity is not easily subsumed by global networks or commercial systems and remains a potent force of expression and, at times, resistance. The volume offers a range of critical viewpoints from which to evaluate the interrelationality of the local and the global, such as philosophical cosmopolitanism, post-colonialism, feminism, class, ethnicity, gender and the experience of the diasporic or exilic artist. The anthology concludes with a reflection between Janelle Reinelt and Marvin Carlson upon the ideas put forth in the book and the broader connectivities of the local and the global. Reinelt and Carlson reveal that these concepts should not be regarded in opposition but, rather, as entangled, something which is reflected in this volume as a whole. A number of international productions and performance practices are discussed from diverse geographical and cultural perspectives, illuminating the complexity of the local and the global. As Reinelt suggests: “The global-local category as a hyphenated concept has become a slogan now, a cliché even. It first arose because the local was supposed to save the global from totalisation, but in fact the global-local concept became, in reality, so complex that this opposition was not useful anymore.” Carlson’s and Reinelt’s engagement with the essays, and with the broader issues of the global and the local, marks an important intervention into how we process experience through theatre and performance in the world today. Contributors include: Marvin Carlson, Shams Eldin, Lynette Hunter, Pirkko Koski, Yana Meerzon, Yasushi Nagata, Janelle Reinelt, Heike Roms, Nehad Selaiha, Melissa Sihra, Juha Sihvola, Joanne Tompkins, Denise Varney and Farah Yeganeh.

An inspiring, foundational book that defines the burgeoning field of community cultural development. An inspiring, foundational book that defines the burgeoning field of community cultural development. Through personal stories, rousing accounts, detailed observation and histories, Arlene Goldbard describes how communities express and develop themselves via the creative arts. This comprehensive, photographically-illustrated book, which covers community-based arts such as theater grounded in oral history and murals celebrating cultural heritage, will appeal to the curious non-specialist reader as well as the practitioner and student. Author Arlene Goldbard is one of the best-known authors on community cultural development. Her seminal books and essays are widely read in the US and other English-speaking countries -- among them, Community, Culture and Globalization and this book's antecedent, Creative Community.

The end of World War I in 1918 meant a radical transformation of Central Europe: the multicultural space of former empires became divided into individual nation-states. This altered all spheres of life, deeply impacting the discipline of art history as well. The cosmopolitan vision of art history developed by figures from the Vienna School such as Franz Wickhoff and Alois Riegl was gradually replaced by new self-referential narratives. This nationalist tendency was reinforced by the division of Europe after World War II. In the wake of Jiří Kroupa’s pioneering studies, this volume takes a truly transcultural approach to art produced in the Central European region from the 12th to the 20th century. Freed from national prejudices, a region shaped by the constant movement of people, ideas, and objects emerges.