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Connecting Californians
Finding the Art of Community Change
An Inquiry into the role of story in strengthening communities
Appendix F
Bibliography: Arts and Humanities
California
(Books and articles published recently in California, or by or about
California artists)
Adams, Don and Arlene Goldbard, Crossroads: Reflections on the
Politics of Culture (Talmadge, CA: DNA Press, 1990). A collection
of essays and speeches on cultural politics and democracy by Adams and
Goldbard, Seattle-based cultural planners. They were originally published
in such journals as Art in America, High Performance and
The Progressive.
Mesa-Baines, Amalia, and Judith Baca, Suzanne Lacy, Stephanie Johnson,
Johanna Poethig, Patricia Rodriguez, Susan Steinmen, Curriculum
Plan [for Visual and Public Arts] (Monterey Bay: California State
University, Institute for Visual and Public Art, 1998). Curriculum plan
for academic major based on the belief that making art is a significant
social act and that artists must be prepared to tackle critical questions
of self-expression, artisanship, identity, community, values, politics
and meaning.
Bowles, Norma, ed., Friendly Fire: An Anthology of 3 Plays by Queer
Street Youth (Los Angeles: A.S.K. Theater Projects, 1997). The
texts of three performance-art pieces written and performed by homeless,
gay, lesbian, bisexual and transgender teenagers living on the streets
of Los Angeles. Includes introduction by Peter Sellars, plus commentaries,
reviews and workshop exercises.
Broyles-Gonzalez, Yolanda, El Teatro Campesino: Theater in the
Chicano Movement. (Austin, Tex.: University of Texas Press, 1994).
Demythologizes and reinterpret’s the history of El Teatro Campesino,
born in 1965 as an organizing tool within the United Farm Workers union
in California. Draws on previously untapped material such as interviews
with ensemble members, production notes and unpublished diaries to highlight
the collective creation that characterized the teatro's work.
Coyote, Peter, Sleeping Where I Fall ( Washington, DC:
Counterpoint Press, 1998). Chronicle of the actor’s life in the '60s,
making theater with the San Francisco Mime Troupe and participating in
the founding years of the California Arts Council.
Elam, Harry J., Jr., Taking It to the Streets: The Social Protest
Theater of Luis Valdez and Amiri Baraka (Ann Arbor: U. of Michigan
Press, 1997). A comparison of the performance methodologies,
theories and practices of Luis Valdez (El Teatro Campesino, the farmworkers'
theater), and Amiri Baraka (Black Revolutionary Theater) during the 1960s
and '70s as examples of social protest theater during a tumultuous historical
period.
Goldbard, Arlene, "Postscript to the Past: Notes Toward a History of
Community Arts," High Performance, winter 1993, pp. 23-27.
Traces the recent history of community arts in the U.S. from the 1960s
to 1993. (See Internet Resources.)
Gómez-Peña, Guillermo, Warrior for Gringostroika
(St. Paul: Graywolf Press, 1993) and Dangerous Border Crossers
(London: Routledge, 2000). Anthologies of writings by the Mexican performance
artist, focusing on cross-cultural, North/South border issues, globalization
and the commodification of identity.
Hesselbein, Frances, Marshall Goldsmith and Iain Somerville, eds., Leading
Beyond the Walls (San Francisco: Jossey-Bass, 1999). Business
writers (including Peter Drucker, Stephen Covey and Peter Senge) explore
issues of organizational leadership in an age when the old rules and conventional
boundaries are changing. Includes discussions of leading distributed organizations,
understanding corporate culture, building civic coalitions and leading
successful change initiatives.
Lacy, Suzanne, ed., Mapping the Terrain: New Genre Public Art
(Seattle: Bay Press, 1995). San Francisco Bay Area-based performance artist
and scholar Suzanne Lacy presents an anthology of original essays by artists
and critics, exploring what happens when artists directly engage and address
"real-world" audiences in public sites and use public art as an instruments
of change. Writing by Baca, Gablik, Jacob, Kaprow, Lippard and others.
Include compendium of 90 "pioneering" artists.
O'Brien, Mark, and Craig Little, eds., Reimaging America: The Arts
of Social Change (Santa Cruz: New Society Press, 1989). Anthology
of articles about the impact of the arts on social movements, documenting
such projects as Kids of Survival, Galeria de la Raza, Los Angeles Poverty
Department, Goat Island, Teatro Pregones, Voices of Dissent, Gran Fury
and more. Fifty contributors include artists, critics and community activists.
Orenstein, Claudia, Festive Revolutions: The Politics of Popular
Theater and the San Francisco Mime Troupe (Jackson, MS: U. Press
of Mississippi, 1999). Examines the historical origins and strategies
of the apparently frivolous theatrical traditions that make the San Francisco
Mime Troupe effective as a contemporary political theater.
Siegel, Nina, "A Stake in Utopia: Theatre’s back-to-the-land movement
comes of age in northern California," American Theater,
March 1995, pp. 21-23.
United States
(Books published recently in the U.S. outside California, or by or U.S.
artists)
Bacon, Barbara Schaffer, and Cheryl Yuen, Pam Korza, Animating
Democracy: The Artistic Imagination as a Force in Civic Dialogue.
Report on a study of the role of the arts in civic dialogue and public
life: motivations, factors for success, civic and aesthetic considerations
and civic impact. Includes case studies of four projects dealing with
community reconciliation, transition, the excavation of history and crisis.
Berger, Maurice, ed., The Crisis of Criticism (New York:
The New Press, 1998). Essays including and in response to Arlene Croce's
landmark 1994/5 New Yorker articles, "Discussing the Undiscussable," attacking
contemporary issues-based art. Articles by Berger, Brenson, Hoberman,
hooks, Oates and others look at critics as activists, consumer advocates,
sycophants and artists.
Building America’s Communities: A Compendium of Arts and Community
Development Programs (Washington: D.C., Americans for the Arts,
1997). Profiles 130 arts programs in communities across America, with
statistics on the use of arts for social and economic change. Topics include
crime prevention, arts and healing, cultural tourism, youth at risk, jobs
and economic development, education and arts and older Americans and innovative
funding mechanisms.
Burnham, Linda Frye, and Steven Durland, eds. The Citizen Artist:
20 Years of Art in the Public Arena (Gardiner, N.Y.: Critical
Press, 1998). Anthology of articles from High Performance magazine, exploring
the development of art in the U.S., from the conceptual art of the 1970s
to the community-based art of the 1990s.
Cleveland, William, Art in Other Places: Artists at Work in America’s
Community and Social Institutions (Amherst: Arts Education Service,
U. of Massachusetts, 2000). First-hand accounts of the histories of institutional
and community-arts programs across the U.S. describing how creative processes
have been used to address pressing social issues. Update of the 1992 classic,
with new introduction.
Cocke, Dudley, Harry Newman and Janet Salmons-Rue, eds., From the
Ground Up: Grassroots Theater in Historical and Contemporary Perspective
(Whitesburg, Kent., and Ithaca, N.Y.: Roadside Theater and Cornell University,
1993). A report on a 1992 symposium at Cornell University reviewing the
history of grassroots theater in the U.S. Includes edited historical and
scenario presentations from the symposium, a "Matrix Articulating the
Principles of Grassroots Theater," issues for the future and a bibliography.
Cocke, Dudley, "Theater of Place," Grantsmakers in the Arts,
Vol. 10, No. 1, spring 1999, pp. 1, 3-6.
Dwyer, M. Christine, and Susan L Frankel, Summary Evaluation of
the Artists and Communities Pilot Initiative (Portsmouth, N.H.:
RMC Research Corp., 2000). Professional evaluation of a government funded
initiative in Canada during the late 1990s. Looks at 12 arts-and-community
partnership projects, reporting findings about the structure of the overall
grantmaking initiative and the design and outcomes of the projects. Useful
evaluation model for the field.
Gard, Robert, Grassroots Theater: A Search for Regional Arts in
America (Madison: U. of Wisconsin Press, new edition 1999). New
edition of the seminal 1954 book by Wisconsin Idea Theater Director Robert
Gard (1910-1992), a spiritual autobiography recounting Gard's travels
across North America discovering and nurturing the folklore, legends,
history and drama of each region. Includes a new introduction by Gard's
daughter, Maryo Gard Ewell, herself an influential community-arts advocate
in Colorado.
Flores, William V. and Rina Benmayor, eds., Latino Cultural Citizenship,
Claiming Identity, Space and Rights (Boston: Beacon Press, 1998).
Study based on ethnographic work in Latino centers in San Antonio, Los
Angeles, New York, San Jose and Watsonville, Calif. Chapters detail acts
of cultural affirmation in various community activities and concerns.
Geer, Richard Owen, "Out of Control in Colquitt: Swamp Gravy Makes Stone
Soup," The Drama Review, Vol. 40, no. 2, summer 1996, pp.
103-130. The story of Swamp Gravy, a community performance by a whole
town in South Georgia, told by its director.
Hinsdale, Mary Ann, Helen M. Lewis and S. Maxine Waller, It Comes
from the People: Community Development and Local Theology (Philadelphia:
Temple University Press, 1995). Documents the creative survival techniques
of the people of Ivanhoe, Va, a small rural town facing economic and social
collapse. Follows the process of rebuilding and uncovering the community’s
cultural and religious values through photos, interviews, stories, songs,
poems and scenes from a local theater production
Lerman, Liz, Are Miracles Enough? Selected Writings on Art and
Community 1983-1994 (Takoma Park, Md.: Liz Lerman Dance Exchange,
1995). Essays on art and community, including "Toward a
Process of Critical Response," a description of Lerman's six-step process
for critiquing works-in-progress and community-based artworks.
Lippard, Lucy, Mixed Blessings: New Art in a Multicultural America
(New York: The New Press, 2000). Update of the 1990 classic, with new
introduction, discussing the cross-cultural process taking place in the
work of contemporary Latino, Native, African- and Asian-American artists.
Topics: uncertainty of exile, the confusion of identity in attempts to
climb out of the melting pot, and art that speaks for itself, reversing
stereotypes and reclaiming history and memory.
McDaniel, Nello, and George Thorn, Learning Audiences: Adult Participation
and Learning Consciousness (Washington, D.C.: John F. Kennedy
Center for the Performing arts and the Association of Performing Arts
Presenters). Study by two arts consultants that explores the premises
and imperatives of adult learning, cites real-life programs and projects
that have advanced our understanding of the techniques that work, and
provides insights into the qualities that contribute to the "learning
consciousness."
Miller, Celeste, Dancing from the Heart: Life Stories (Gloucester,
Mass.: Celeste Miller & Co., 1994). Subtitled "a workbook for the
creative exploration of the storyline of our lives through dance, movement,
writing and storytelling." Choreographer and teacher Miller explores exercises
that stimulate storytelling through movement.
Overton, Patrick, Rebuilding the Front Porch of America: Essays
on the Art of Community Making (Columbia, Mo.: Columbia College).
By the founding director of The Front Porch Institute, dedicated to exploring
the role of the arts and culture in the community-making process, especially
focusing on the essential role the arts play in engaging citizens in the
democracy of civil discourse.
Perlstein, Susan, and Jeff Bliss, Generating Community: Intergenerational
Partnerships Through the Expressive Arts (New York: Elders Share
the Arts, 1994). The founder and intergenerational arts coordinator of
New York’s Elders Share the Arts outlines successful models for using
the arts in planning and sustaining meaningful connections between generations
and between cultures living in the same communities.
Porterfield, Donna, "Arts Presenting and the Celebration of a Community’s
Culture," High Performance, winter 1993. The story of Roadside
Theater and its community partnership with the people of the Central Appalachian
Plateau. Roadside is a touring, ensemble musical-theater company that
performs original plays and conducts community-building residencies based
on the rich storytelling and musical traditions of the Southern mountains.
Raven, Arlene, ed., Art in the Public Interest (New York,
NY: Da Capo Press, new edition 1993). Anthology documenting and analyzing
new public arts forms. Writers Gómez-Peña, Roth, Becker,
Kuspit, Lacy, Durland, Burnham and others look at Greenpeace, the AIDS
quilt, the La Lucha murals, TheatreWorkers Project, the Electronic Café
and more.
Rohd, Michael, Theatre for Community, Conflict & Dialogue:
The Hope Is Vital Training Manual (Portsmouth, NH: Heinemann,
1998). A blueprint for the Hope Is Vital interactive theater techniques
for creating dialogue and emotionally safe space for dialogue with young
people. Includes exercises, scene work and theatermaking.
Schutzman, Mady, and Jan Cohen-Cruz, eds., Playing Boal: Theatre,
Therapy, Activism (New York: Routledge, 1994). Examination of
the techniques and applications of Brazilian theatermaker Augusto Boal,
political activist and creator of Theater of the Oppressed. Looks at uses
of and modifications of Boal's exercises by scholars and practitioners
in Europe, the U.S. and Canada. Includes a Boal glossary.
Weinberg, Mark, Challenging the Hierarchy: Collective Theatre in
the United States (Westport, CT: Greenwood Press, 1992). Looks
at collective theaters as socially conscious and politically oriented,
often aligned with the people's theater movement. Examines collectivization
as a way of successfully challenging the hierarchy and ideology of traditional
theatre and of society. Includes El Teatro de la Esperanza, United Mime
Workers, Dakota Theatre Caravan and Spilt Britches.
International
(Books and articles published outside the U.S. or by or about non-U.S.
artists since 1990)
Augaitis, Daina, and Lorne Falk, Sylvie Gilbert, Mary Anne Moser, eds.,
Questions of Community: Artists, Audiences, Coalitions (Banff,
Alberta, Canada: Banff Centre Press, 1995). Twenty writers and artists
evaluate what works and what doesn’t for artists working toward social
change in Canada. Discusses concrete examples and theory.
Becker, Carol, ed., The Subversive Imagination: Artists, Society
and Social Responsibility (New York: Routledge, 1994). Contributors
from South Africa, the Czech Republic, Iran, Poland, Mexico and the U.S.
discuss the role of artists in their own societies and analyze their activist
identities as a basis for their own work. Writers include Fusco, Ehrenberg,
Ndebele, Dyson and Sadri.
Boal, Augusto, Theatre of the Oppressed (London: Pluto
Press. 2000). New edition of classic work on radical drama, brought up-to-date
with a new introduction by the Brazilian author and director. Depicts
theater as a popular form of communication and expression and instrument
of social change, drawing on theories of Aristotle, Machiavelli, Brecht
and Marx.
Dickson, Malcolm, ed., Art with People (Sunderland, England:
AN Publications, 1995). Traces the cultural and political aspirations
of early pioneers of community arts in the U.K., and compares them with
the environment for community artists in the ‘90s.
Kershaw, Baz. The Politics of Performance: Radical Theatre as Cultural
Intervention (London: Routledge, 1992). Addresses fundamental
questions about the social and political purposes of performance through
an investigation into post-war alternative and community theater. Analyses
in detail the work of key practitioners in socially engaged theatre during
four decades, setting each in the context of social, political and cultural
history and demonstrating how they may have had a significant impact on
social and political history.
Internet Resources
Please refer to the Recommended
Links section of the Community Arts Network for a list of internet
resources.
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