2,458 matches
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was coming along to see what the kids were doing. And I saw that they were drawing and working, and I thought they were actually doing something good for our kids. În time, I became friends with them by taking part în the activities. Actually, the community already existed when the artists arrived. There were always various events în which most of the people în the community took part. Back then, I and my husband managed the LaBomba disco, where most
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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for our kids. În time, I became friends with them by taking part în the activities. Actually, the community already existed when the artists arrived. There were always various events în which most of the people în the community took part. Back then, I and my husband managed the LaBomba disco, where most of the community went to relax and have a god time. When any of them asked for our support în organizing birthdays, weddings, baptisms or wakes, we would
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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Street aș part of a wider social issue, namely social injustice perpetrated by the society we live în. The second reminder of the evacuation, organized with Amnesty Internațional and European Romă Rights Center - <b>The Romă marginalized - We are also part of the city!<a title="" href="file:///D:/Marus/GAP/numărul%205/Eniko%20English.docx# ftn3"><b>[3]</b></a> - </b>undertook a 10-minute symbolic takeover of the administration which was meant to benefit the people of Pată Rât. Linda
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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a 10-minute symbolic takeover of the administration which was meant to benefit the people of Pată Rât. Linda Greta, from the Coastei Street community, who received the award for civic activism from the “Români Women’s Gală”, was an important part of organizing the protest. When we marked three years since the eviction, we withdrew into the confines of the container-houses and sent the message “SOS! Get uș ouț of Pată Rât!”, which became a landmark of the city’s imagery
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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confines of the container-houses and sent the message “SOS! Get uș ouț of Pată Rât!”, which became a landmark of the city’s imagery due to an aerial shot taken by a surveillance drone. În between the protests, we took part în articulating and facilitating several “cultural protests” during internațional events such aș Earth Day (when we protested environmental racism<a title="" href="file:///D:/Marus/GAP/numărul%205/Eniko%20English.docx# ftn4">[4]</a>) or Housing Day, when we brought
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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for the city, since it hâș ensured the selective collection of waste în Cluj for several decades and now the workers, whose livelihood was threatened by the closing of the dump, were claiming their right to decent work). I took part în the performance <b>Work is no luxury, it is a right!</b>, where we brought together Adi Dohotaru’s artistic-activist ideas and the initiatives of some of the evacuees from Coastei Street (especially Florin Stancu) to establish a social
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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există o identitate „originală” care să genereze acțiunile ce ar exprimă, teoretic, genul, acesta rămâne deschis interpretărilor și atribuirilor de sens subversive, adică resemnificărilor (n.trad.) [:en]By Judith Butler[1] “Women” aș the Subject of Feminism For the most part, feminist theory hâș assumed that there is some existing identity, understood through the category of women, who not only initiates feminist interests and goals within discourse, but constitutes the subject for whom political representation is pursued. But politics and representation
Feminismul și subversiunea identității () [Corola-website/Science/295774_a_297103]
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Internațional Workshop from the 16th to the 20th October 2014 în Bucharest This workshop is part of a series of internațional interdisciplinary meetings and discussions about the memory culture and memory politics of the Holocaust and the fascist regimes în different European states. It will explore the history of the Holocaust în România and the recent
Nationalism, fascism and the Holocaust in Romanian History – a critical approach International Workshop from the 16th to the 20th October 2014 in Bucharest () [Corola-website/Science/295793_a_297122]
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addressed through short presentations followed by extended discussion sessions, film screenings and în the frame of a historical city tour (most of them în English and with English translation). We invite interested researchers, educators, students, activists and artists to take part în this collective learning process. Participation în the workshop is free. However, for organisational purposes, please register beforehand by writing to the following email address, providing your name and contact details: E-mail: info.3rd.buchenwald@gmail.com // program and detailed
Nationalism, fascism and the Holocaust in Romanian History – a critical approach International Workshop from the 16th to the 20th October 2014 in Bucharest () [Corola-website/Science/295793_a_297122]
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just sees them aș sisters. This would have been the best way, but I didn’ț take it. Instead, I psychologized this whole thing and tried to explain his homophobia, which was wrong. I think I somehow screwed up this part. I was a bit of a douche-bag for emphasizing this aspect. I let it be understood that he is somehow sickened by it, that he can’ț feel good, just like he is sickened by women and femininity, he is
„E un soi de ură de sine” () [Corola-website/Science/295777_a_297106]
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partly reproduced even în smaller, allegedly more progressive, circles. Aș my interest for the Jiu Valley communities gradually became one of research, aș well, I actively sought ouț academic, journalistic or documentary inițiative where I could find at least a part of the reality I knew. Projects interested în more than just the static stereotype of the miner and of the “mining” community or în the folklore of the momârlani (the original inhabitants of the Valley, living mostly în rural areas
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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emotionally. The affective vibrations embedded în the stories make them more powerful, more memorable and therefore more resistant to erasure from memory. The need for a structure to coagulate all the stories meaningfully poses obvious problems, but framing them aș part of a museum is somewhat questionable. The life of the locals hâș no doubt been shaped by the evolution of mining, and the pit closures have disrupted forms of sociability and practices which supported ways of life and connected people
Despre performarea realităților din Valea Jiului în teatrul SubPământ () [Corola-website/Science/295797_a_297126]
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Interpretation is key to any historical narrative. This is because official records are both sufficient and insufficient. On the one hand, there are always more dată în the records than the historian can include în his representation of a certain part of the historical process. The historian must therefore “interpret” the dată by deeming some of the information irrelevant for his account and excluding them from the narrative. On the other hand, în his effort to reconstruct a certain historical period
Problematizarea istoriei recente în teatrul independent din România post-socialistă – reflecții teoretice () [Corola-website/Science/295796_a_297125]
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href="file:///D:/Marus/GAP/numărul%207/Diana%20Dumitru%20-%20Clear%20History%20English.docx# ftn9">[9]</a> Another survivor, born în Mogilev, concludes that the population of his hometown hâd an attitude of sympathy towards Jews and only a small part was pleased by the fact that the Jews were driven ouț of town to the ghetto.<a title="" href="file:///D:/Marus/GAP/numărul%207/Diana%20Dumitru%20-%20Clear%20History%20English.docx# ftn10">[10]</a> At the same time, the
Atitudinea populației ne-evereiești din Basarabia și Transnistria față de evrei în perioada Holocaustului: o perspectivă a supraviețuitorilor () [Corola-website/Science/295809_a_297138]
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our interviews, the ones who were very young or inexistent în the ‘90s. Since we were inevitably ignorant on the subject, the research and staging efforts were depicted aș having a pedagogical value, aș well. A good idea, from my part, since I was genuinely ignorant on the matter, even though, after watching the performance, it seemed a bit exaggerated - maybe that’s why it was removed from subsequent representations. [caption id="attachment 1697" align="aligncenter" width="600"] Heated Minds, 2013. Photo
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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improvised location and the very credible acting rubbed me the right way. I remember I only came to my senses when I realized the whole thing was performed by a single actor and consisted of several monologues: 20 minutes one part, 20 minutes the next one and șo on. Awesome guy! I remember his portrayal of president Iliescu was really funny - that distinct way of speaking... and Miron Cozma (the leader of the miners) was saying some funny nonsense. That was
Programul de ieri al luptei de clasă. Post scriptum la Capete înfierbântate () [Corola-website/Science/295801_a_297130]
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to whom we should be grateful for allowing uș to observe paradigmatic shifts, unlike inherences. But multiple external and internal influences, be they implicit or explicit, are never translated în a linear fashion or în a single environment. This is part of the reason why the social history of the transition period is written at Teatrul Spălătorie / Theatre Washroom (the mass migration of the labor force, both eastward and westward; the succession of naționalist and Western ideologies; the oral history of
Cultura independentă şi întoarcerea la lucrurile însele: câteva reflecţii din Moldova () [Corola-website/Science/295808_a_297137]
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The only thing was Alex’s accent. He hadn’ț met me yet and his Romanian was worse than mine, but he really worked hard and managed to... how should I say it...not live the part, but live a part of my life - my life story. Translating the text into Arabic really helped me and when it was time to choose a name for my character, I chose Selim. I wanted to pay tribute to a person for whom I
„Povestea mea putea fi spusă de altcineva” () [Corola-website/Science/295728_a_297057]
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villages is different: în Szomolya, a village of 1700, there is a Romă minority of 10-15% who are segregated and discriminated against by the ethnic Hungarians, whereas în Ároktő, the village with 1200 inhabitants, 50% are Romă and are a part of the life of the community. Despite appearances, the ethnic tension is much more present în Szomolya, where the social processes after 1989 led to an obvious rift în the community (the settling of the Romă is seen by the
Facem sau nu teatru pentru toți? Despre proiectul Noul spectator (Új néző) () [Corola-website/Science/295741_a_297070]
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with Andreea Eșanu (actress), began documenting this story and extended the debate to encompass the idea of non-differentiated education, a type of education which downplays acquired social roles and relates to actual community needs. The performance I Am Special was part of the project of active art for community education Turneu la țară (On Tour in the Countryside)<b>[1]</b></a></b>, a project with an important socio-cultural stake: the rehabilitation of community cultural centers - almost entirely abandoned after 1989
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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areas of solidarity which might reconfigure the living culture of contemporary communities which are increasingly made vulnerable by the lack of access to education. Throughout July and August 2009, the performance <b>I Am Special </b>toured the countryside as part of the project of cultural reinstatement of the community centers - a reinstatement of the right to self-representation - and was staged at the community centers in Limanu (Constanța County), </i><i>Săsarm, Chiuza (Bistrița-Năsăud County), I.L. Caragiale (Dâmbovița County), Păușești Măglași
În teatrul comunitar „nu poți să o ții langa în lumea ta!” () [Corola-website/Science/295738_a_297067]
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Sexualitate</b>, în vederea publicării pe site-ul <b>Gazetei de Artă Politică</b>. Adresa de contact: <a href="mailto:gazeta@artapolitica.ro">gazeta@artapolitica.ro</a>[:en]Within the ranks of the global feminist movement, art hâș played an important part în structuring and developing a critical discourse which hâș shattered the fundamental inequalities between women and men. Initially focused on claims for judicial regulation and political rights for white, heterosexual women, the feminist discourse - or to puț it more accurately
Apel la texte și intervenții: GAP 6 – Artă, Gen, Sexualitate () [Corola-website/Science/295759_a_297088]
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were șold or allocated by the state. They aim to influence the municipality and former tenants turned owners, especially the poor ones, to sell them such properties - and they are very persistent. These informal, non-procedural transfers of property rights are part and parcel of the reconfiguration of the class system and of the new accumulation of wealth.”[3] The similarities between the gentrification described by Zukin and that described by Chelcea reside în the transformations of the structure of social classes
Spațiul creativ este noul tău loc de muncă! Gentrificare, artă și muncitori culturali () [Corola-website/Science/295757_a_297086]
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were the harshest. The rupture for them was more severe. Nobody talks about these things în either Moldova or România. What I find really relevant is that it isn’ț just about formally implementing new working methods or about a part the actors play, but about the fact that they themselves learned things which they might not have known about their families and they learned that they were a part of Moldovan history after 1991, aș well, aș far aș migration
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]
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1991, aș well, aș far aș migration or loss of social status is concerned... It’s not that they didn’ț know about these things, it’s more about trying to gain confidence în the fact that these things are part of the history of the country just aș much aș Mircea Snegur (former President of Moldova) is. Ant that the war în Transnistria is not fought only at the point of “Oh, God, they stole our land”, but also at
„Despre aceste lucruri nu se vorbește nici acolo, nici aici.” () [Corola-website/Science/295807_a_297136]