45,651 matches
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în schools through arts and play creation with original material from students. I worked în all the boroughs of NYC, some of them being ghetto areas with a lot of underprivileged students în low-status schools: Harlem, the South-Bronx, outer parts of Queens, East New York. It was also în the UȘ that I got acquainted with the work of Clowns without Borders. Clowns without Borders is an NGO whose profile is humanitarian clowning. They go to areas of crisis and bring clown
Clovnii () [Corola-website/Science/295693_a_297022]
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acquainted with the work of Clowns without Borders. Clowns without Borders is an NGO whose profile is humanitarian clowning. They go to areas of crisis and bring clown and circus-inspired acts to kids and offer laughter “to relieve the suffering of all persons, especially those of children.” The artists are professionals, but the work is strictly voluntary. You make all the necessary preparations, the fund-raising, your own act and bang, you go! There are many chapters în Europe (the first one
Clovnii () [Corola-website/Science/295693_a_297022]
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and furious. I decided that I will make myself useful and, with the help of whatever knowledge and experience I have about theater and dramă pedagogy, I will do my best to contribute to the well-being of the Romă communities of Hungary, especially that of the children. În January 2010, I founded Clowns on the Horizon, a humanitarian clown organization whose mission is to enrich the cultural life of poor Romă and non Romă communities and alleviate tension between those two
Clovnii () [Corola-website/Science/295693_a_297022]
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to more than 110 schools and/or villages and more than 12.000 people have seen uș. We have regular dramă workshops în a small village called Bódvalenke, and every summer we do a dramă câmp for 15 kids, most of them returning customers în a poor North-Eastern town called Ózd. For four years now în a row we make a big donation gathering event for Christmas for a very poor region of the country. Our work hâș been made possible
Clovnii () [Corola-website/Science/295693_a_297022]
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go to the poorest parts of the country. În Hungary, two third of the poorest (officially: “accumulatively unprivileged”) children are Romă. Șo where we go, there are usually a lot of Romă kids, but Romă or not, they are deprived of a lot of possibilities other children - în other regions and with different backgrounds - benefit from. These children have very often never seen a theater show, a clown or any cultural event. Most children are very warm and loving and are
Clovnii () [Corola-website/Science/295693_a_297022]
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a while at times. Another thing is that they just want to stay and talk to uș. The girls usually go to the actresses and the boys go to our male actor. The little ones go to anyone. Two ouț of our five actors are Romă, one actress is half-Roma. The biggest star of the first two shows is Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him to death. They gather around
Clovnii () [Corola-website/Science/295693_a_297022]
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biggest star of the first two shows is Tamás, who is Romă and plays a gentle but strong, idealistic male character. The boys love him to death. They gather around him after the show, and it hâș happened a couple of times that they spring up during the show and hug him șo tight that before we know it Tamás is on the floor with fifty boys on top of him! Generally, the children do not want uș to leave after
Clovnii () [Corola-website/Science/295693_a_297022]
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around him after the show, and it hâș happened a couple of times that they spring up during the show and hug him șo tight that before we know it Tamás is on the floor with fifty boys on top of him! Generally, the children do not want uș to leave after the show and they ask uș to come back the next day. They sometimes send uș poems and beautiful drawings. Tamás is obviously a potențial role model for the
Clovnii () [Corola-website/Science/295693_a_297022]
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to be with them, teach them, entertain them, etc. Of course, they also are happy to connect to the rest of uș, but the boys clearly need Tamás the most. În Ózd, when we ask the children at the end of each day what they enjoyed the most during that day, they always answer that the rehearsals, the part of the day when they get to come up with their own ideas, use their imagination or acting skills. They love that-even
Clovnii () [Corola-website/Science/295693_a_297022]
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rappers or sports starts. All they want is to get famous and to get rich. On the level of reality they are clueless. Knowledge and learning have lost their value. Teachers unanimously complain about the education system and the lack of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of
Clovnii () [Corola-website/Science/295693_a_297022]
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of money. No money for cultural programs, no money for sports, no money for even the ink or the paper în the printer. And they are exhausted and overwhelmed. (My personal impression is that more and more kids fall ouț of this current system, more and more kids finish school without really learning to read and the system can offer almost nothing to those who do not fit în immediately for whatever reason. I must say, though, that the so-called IPR
Clovnii () [Corola-website/Science/295693_a_297022]
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ouț poverty. What this means is: children often going hungry, often not having any room or possibility at home to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of daily routine în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up în an environment that lacks any positive stimulus. It means they are
Clovnii () [Corola-website/Science/295693_a_297022]
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often going hungry, often not having any room or possibility at home to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of daily routine în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up în an environment that lacks any positive stimulus. It means they are very grateful for whatever mental, emoțional, human
Clovnii () [Corola-website/Science/295693_a_297022]
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often not having any room or possibility at home to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of daily routine în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up în an environment that lacks any positive stimulus. It means they are very grateful for whatever mental, emoțional, human or creative stimuli
Clovnii () [Corola-website/Science/295693_a_297022]
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any room or possibility at home to focus on school work, often lacking basic clothing for regularly going to school, poor immune system and frequent diseases, lack of daily routine în parents’ lives, lack of stability, lack of self-esteem, lack of encouragement - not always, of course, but too often, unfortunately. Children, therefore, may easily grow up în an environment that lacks any positive stimulus. It means they are very grateful for whatever mental, emoțional, human or creative stimuli and attention they
Clovnii () [Corola-website/Science/295693_a_297022]
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a methodology which explains contradictions and subverts inequalities? How could art be used to develop prototypes which can be improved or freely appropriated by others? How does one analyze the complex and contradictory position of the artist who is aware of his/her responsibility and who knows he/she hâș to find a balance between being an artist (and therefore part of an art system with all its compromises) and being a citizen? When do you stop calling the things you
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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Art was the context în which we met and started working together 12 years ago. We hâd just graduated from a department where the main effort consisted în finding a framework that hâd aș little to do with the concreteness of human life aș possible and was completely removed from daily events, feelings, bodies, anxieties about the future, about the conditions of artistic production or about the role of art în society. “The danger of literature în art” was a phrase
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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în which the artist lived and worked (the term “artist” being used solely în its masculine form). Beyond the obsolete artistic and intellectual frameworks being taught în art education a decade ago, the most obvious content (and the most damaging of them all) was the vision of art aș a territory of individualism, of a selfish isolation în the land of “sophisticated” ideas (whether these ideas related to religion or to a naïve and reducționist view of art aș an autonomous
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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artistic and intellectual frameworks being taught în art education a decade ago, the most obvious content (and the most damaging of them all) was the vision of art aș a territory of individualism, of a selfish isolation în the land of “sophisticated” ideas (whether these ideas related to religion or to a naïve and reducționist view of art aș an autonomous and fully self-referential territory wherein the brilliant artist discovered the pure form). The collective aș a manner of working which
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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and the most damaging of them all) was the vision of art aș a territory of individualism, of a selfish isolation în the land of “sophisticated” ideas (whether these ideas related to religion or to a naïve and reducționist view of art aș an autonomous and fully self-referential territory wherein the brilliant artist discovered the pure form). The collective aș a manner of working which enables you to discover yourself în relation to others was not the trusting ground on which
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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their aesthetic sensitivity în an intercultural context and develop the creativity they will subsequently use în their different career paths aș adults. It is a subject which is vague enough to allow space for the subversion of the neoliberal rhetoric of “interculturalism” and “creativity” and for topics such aș the intrinsic injustice of capitalism (topics approached using art aș both an instrument and a pretext). It is also a subject which enables modes of work which are non-hierarchical, rely on dialogue
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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will subsequently use în their different career paths aș adults. It is a subject which is vague enough to allow space for the subversion of the neoliberal rhetoric of “interculturalism” and “creativity” and for topics such aș the intrinsic injustice of capitalism (topics approached using art aș both an instrument and a pretext). It is also a subject which enables modes of work which are non-hierarchical, rely on dialogue, emphasize the process and not the end-result etc. [...] Some of the schools
Câteva fragmente despre artă politică, educaţie şi eşec () [Corola-website/Science/295697_a_297026]
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Ionașcu, Spectacolul..., p.174. [:en]by Marius Bogdan Tudor and Mihai Lukács The post-World War 2 modernizing drive of the Romanian state manifested itself in two essential policies: industrialization and the democratization of culture. The two approaches were complementary: first of all, industrialization offered the possibility of involving a mostly rural workforce in the production sector in order to rebuild a war-torn economy on the basis of scientific Socialism and, in the long run, the possibility of a state-fueled proletarian class
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]
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Marius Bogdan Tudor and Mihai Lukács The post-World War 2 modernizing drive of the Romanian state manifested itself in two essential policies: industrialization and the democratization of culture. The two approaches were complementary: first of all, industrialization offered the possibility of involving a mostly rural workforce in the production sector in order to rebuild a war-torn economy on the basis of scientific Socialism and, in the long run, the possibility of a state-fueled proletarian class. Second of all, building an infrastructure
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]
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involving a mostly rural workforce in the production sector in order to rebuild a war-torn economy on the basis of scientific Socialism and, in the long run, the possibility of a state-fueled proletarian class. Second of all, building an infrastructure of cinemas, theaters, performance halls (the future “union houses”) and libraries at the national level, doubled up by an infrastructure of workers’ clubs, artistic brigades, village cultural homes and factory newspapers at the enterprise and agricultural co-op level, facilitated the regulation
„Mulțumim pentru copilăria noastră fericită”: Spectacolul cu copii în România anilor 1980 () [Corola-website/Science/295691_a_297020]