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An international arts organisation and network engaging with music, dance, theatre and visual art, Phakama creates adventurous, site-responsive performances with large groups of people from diverse backgrounds. With contributions from participants, artists, academics and cultural commentators from India, Ireland, South Africa, the UK and USA, this book features case studies, interviews and articles covering two decades of practice. At the heart of the book is a selection of carefully explained and beautifully illustrated exercises which will enable Phakama's methodology to be used by organisations and practitioners working with young people internationally. Phakama is a Xhosa and Zulu word for stand up, arise, empower yourself. With a focus on collaborative, non-hierarchical performance making, Phakama invites cultural sharing and critical engagement with the world we live in.

The global temperature of the planet continues to rise, abandoned industrial sites stain once vibrant communities, and questions about the purity of our water and foods linger. In the shadow of these material conditions, concerned citizens have reacted by issuing critiques against careless consumerism and excessive lifestyles. Their hope is to illustrate and inspire alternative ways of living. As part of such efforts and activism, some have turned to performance as a means to investigate matters further, pose challenges and questions, and enact new ways of being and thinking in a globalized world. Performance on Behalf of the Environment is a collection of essays from a diverse group of scholars that explore critically the strengths, limitations, and processes of what can be termed environmental performances.

This book sets out strategies of analysis of the award-winning tetralogy of performances (2010-14) by ANU Productions known as 'The Monto Cycle'. Set within a quarter square mile of Dublin's north inner city, colloquially known as The Monto, these performances featured social concerns that have blighted the area over the past 100 years, including the scandal of the Magdalene laundries. While placing the four productions in their social, historical, cultural and economic contexts, the book examines these performances that operated at the intersection of performance, installation, visual art, choreography, site-responsive and community arts. In doing so, it explores their concerns with time, place, history, memory, the city, 'affect', and the self as agent of action.

The author's detailed study follows apparently dissimilar groups (black and Latino/a in a New York City after-school club, and white and Indigenous in a small Canadian community) as they inflect their nascent identities with a sophisticated sense of visual material culture in today's globalized world. It shows how young people from the world's cultural epicenter, just like their counterparts in the sub-Arctic, construct racial, geographic and gender identities in ways that are subtly responsive to what they see around them, blending localized characteristics with more widely shared visual references that are now universally accessible through the Web. The work makes a persuasive case that youthful engagement with visual material culture is a relational and productive activity that is simultaneously local and global, at once constrained and enhanced by geography, and possesses a potent and life-affirming authenticity. Densely interwoven with young people's perspectives, the author's account sets out an innovative and interdisciplinary conceptual framework affording fresh insights into how today's youth assimilate what they perceive to be significant.

This volume surveys a new chapter in the history of environmental art, one in which space, geopolitics, human relations, urbanism, and utopian dreamwork play as important a role as, if not more than, raw earth. Discussed are case studies by seven artists and two artist teams, While some of these artists explore historical and symbolic configurations of space, others parse the social, legal, and economic conditions of specific land-sites, including the Navajo Nation, the island of Vieques, the border town of Juarez, and the cities of Tongling, Jerusalem, and Beirut. Not confined to the displacement of matter, these artists employ a wide range of media, such as performance, animation, assemblage, and photography.

Art, Community and Environment investigates wide-ranging issues raised by the interaction between art practice, community participation, and the environment, both natural and urban. This volume brings together a distinguished group of contributors from the United States, Australia, and Europe to examine topics such as urban art, community participation, local empowerment, and the problem of ownership. Featuring rich illustrations and informative case studies from around the world, Art, Community and Environment addresses the growing interest in this fascinating discipline.

To Life! documents the burgeoning eco art movement from A to Z, presenting a panorama of artistic responses to environmental concerns, from Ant Farm's anti-consumer antics in the 1970s to Marina Zurkow's 2007 animation that anticipates the havoc wreaked upon the planet by global warming. This text is the first international survey of twentieth and twenty-first-century artists who are transforming the global challenges facing humanity and the Earth's diverse living systems. Their pioneering explorations are situated at today's cultural, scientific, economic, spiritual, and ethical frontiers. The text guides students of art, design, environmental studies, and interdisciplinary studies to integrate environmental awareness, responsibility, and activism into their professional and personal lives.

In the 25 years since its original publication, Space and Place has not only established the discipline of human geography, but it has proven influential in such diverse fields as theater, literature, anthropology, psychology, and theology. Eminent geographer Yi-Fu Tuan considers the ways in which people feel and think about space, how they form attachments to home, neighborhood, and nation, and how feelings about space and place are affected by the sense of time. He suggests that place is security and space is freedom: we are attached to the one and long for the other. Whether he is considering sacred versus "biased" space, mythical space and place, time in experiential space, or cultural attachments to space, Tuan's analysis is thoughtful and insightful.

"What do place, art, and self have in common? To what extent do place and art define who we are?" In Place, Art, and Self, the renowned humanistic geographer Yi-Fu Tuan tackles this large question in a small, accessible, beautifully illustrated book. Through memoir and the insights gained from a peripatetic life as an international scholar, Tuan explores the idea of attachment through place and art and the role of attachment in shaping, defining, and expanding the self. Inasmuch as a place contains sources of "nurture and identity," Tuan writes, so, too, does a painting, photograph, poem, novel, motion picture, dance, or piece of music. "The arts are likewise emblematic and revelatory. The ones I strongly like and dislike expose me, make me feel naked before the public eye, which is why I am guarded in my confessions." Drawing from a lifetime spent thinking and writing about the connection between geography and our spiritual needs, Tuan presents a compelling and meditative foray into how place, home, and homelessness condition us as humans. Complementing his essay is a gallery of fine-art black-and-white and color plates by four emerging contemporary photographers, whose work accords with Tuan’s message.

"Recent global appropriations of public spaces through urban activism, public uprising, and political protest have brought back democratic values, beliefs, and practices that have been historically associated with cities. Given the aggressive commodification of public resources, public space is critically important due to its capacity to enable forms of public discourse and social practice which are fundamental for the well-being of democratic societies. Public Space Reader brings together public space scholarship by a cross-disciplinary group of academics and specialists whose essays consider fundamental questions: What is public space and how does it manifest larger cultural, social, and political processes? How are public spaces designed, socially and materially produced, and managed? How does this impact the nature and character of public experience? What roles does it play in the struggles for the just city, and the Right to The City? What critical participatory approaches can be employed to create inclusive public spaces that respond to the diverse needs, desires, and aspirations of individuals and communities alike? What are the critical global and comparative perspectives on public space that can enable further scholarly and professional work?

Public Art (Now): Out of Time, Out of Place is the first survey of progressive public art from around the world. It presents some of the most significant artworks in the public realm from the last decade, challenging preconceptions about where, when and how public art takes place. For decades, art in the public realm has been characterized by the landmark sculpture or spectacular outdoor event that helps to define or brand a place. But in recent years, a new wave of international artists and producers has rejected the monumental scale and mass appeal of such artworks. Instead, these individuals and groups favor unconventional forms that unsettle rather than authenticate a place's identity; disrupt rather than embellish a particular location; and contest rather than validate the design and function of public space. Public Art (Now): Out of Time, Out of Place presents the artists who have been redefining the practice of public art over the past decade. They directly address the most pressing issues of our time, including the encroachment of corporate concerns on public space, the implications of global migration and the isolation of the individual, and the potential of collective action to share the future of our towns and cities.

This is Jurgen Habermas's most concrete historical-sociological book and one of the key contributions to political thought in the postwar period. It will be a revelation to those who have known Habermas only through his theoretical writing to find his later interests - in problems of legitimation, of rationalization, and of communicative action foreshadowed in this lucid study of the origins, nature, and evolution of public opinion in democratic societies. Among the topics discussed are the origins of the category of "publicity" in the 18th-century, the rise of social institutions like newspapers, coffeehouses, and reading societies that provided for the formation and articulation of public opinion, and the way in which public opinion came to be assigned specific political responsibilities within liberal democracies. Habermas's concern is with the rise of a politically active and informed public in England, France, and Germany, and the declining role of that public with the emergence of modern social welfare states. His ultimate subject, and the focus of his later work is the possibility of democracy under the radically changed socioeconomic, political, and cultural conditions of present day society.

Exhibited across the globe, Richard Long, born in 1945, is one of Britain's most important living artists. Long belongs to a generation of British sculptors who re-imagined the traditional materials and methods of their medium. His work, rooted in his deep affinity with nature, developed during solitary walks through landscapes around the world, from the Andes, to Africa, to the Mongolian steppes. Often geometric in shape, Long's sculptures are always made with materials encountered during his walks. This fascinating book, extensively illustrated and designed in collaboration with the artist, surveys Long's entire career, beginning with key early works including A Line Made By Walking (1967), A Ten Mile Walk (1968), Climbing Mount Kilimanjaro (1969), A Sculpture Left By The Tide (1970) and A Circle In Africa (1978). Featuring an essay by Tate curator Clarrie Wallis, Richard Long is an insightful look at a landmark artist.

The classic book on how we experience intimate spaces. "A magical book. . . . A prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced--and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard."--from the foreword by John R. Stilgoe

This volume reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance praxis, including the development of site-specific dance, the use of technology as a choreographic tool, and the radical separation of sound and movement in dance. It features ten new essays by curators and historians of music, art history, performance studies and dance as well as interviews with contemporary choreographers - Beth Gill, Maria Hassabi, Rashaun Mitchell and Silas Riener - who address Cunningham's continued influence. These are supplemented by archival photographs, reprints of texts by Cunningham, Cage and other key dancers, artists and scholars, and an extensive illustrated chronology placing Cunningham's activities and those of his collaborators in the context of the 20th century, particularly the expanded arts scene of the 1960s and 1970s. An essential volume for anyone interested in contemporary art, music, and dance.

The first significant scholarly volume devoted to Goldsworthy's work in nearly twenty years and the first to underscore the permanent output of this acclaimed artist. In January 2003 British sculptor Andy Goldsworthy was invited to create a work of art for the National Gallery of Art. The project began with a series of ephemeral works on Government Island in Stafford County, Virginia. From this phase a series of photographic suites and a diary remain. The second phase of the project resulted in Roof, a permanent, site-specific sculpture at the National Gallery comprising nine stacked-slate domes installed over the course of nine weeks by Goldsworthy, his assistant, and a group of British drystone wallers in the winter of 2004-2005. It features the only fully illustrated catalogue documenting Goldsworthy's permanent installations-more than 120 works dating from 1984 to 2008 and spanning three continents.

This book offers a detailed presentation of Richard Serra's entire career, from his early experiments with materials like rubber, neon, and lead to the environmentally scaled steel works of recent years, including three monumental new sculptures created for the exhibition that this book accompanies.