Display candidate transaction variables for article
| Id | 919 | |
| Author | Breed A. | |
| Title | Environmental aesthetics, social engagement and aesthetic experiences in Central Asia | |
| Reference | Breed A.; Environmental aesthetics, social engagement and aesthetic experiences in Central Asia ;Research in Drama Education vol:20.0 issue: 1.0 page:87.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-84924107737&doi=10.1080%2f13569783.2014.986447&partnerID=40&md5=ceeba08257029439f38588674502df6e |
| Abstract | In this essay, I explore the Youth Theatre for Peace (YTP) project in relation to environmental aesthetics and engaged participatory practices towards tolerance building in Central Asia. My main argument is that cultural histories of storytelling, manas (an oral and now literary Kyrgyz epic) and trickster tales incorporate ideas and narratives that are useful in negotiating the ambiguities between differing moral, political and social agendas and can be drawn on in conflict negotiation contexts. I argue that environmental aesthetics offers a useful theoretical framework for analysing the YTP project due to the nomadic eco-spirituality and eco-consciousness of the region. Further, specific (embodied and emplaced) performing arts activities provide opportunities for communities to build longer-term strategies for engaging with and intervening in the political realities in which they live. © 2015, © 2015 Taylor & Francis. |
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| The street was full of people. . | Also, for artists to experiment with the cultural works of different countries. . | In this way, the practice fosters the communal transmission of knowledge. . | Due to the focus on the project to create dialogue in order to resolve problems, a part of the aesthetic is focused on coordinating performances, so that parties important to the decision-making process are present. . | There are several defining features of aesthetic experience - or aesthetic interaction with artfully composed expressive forms, such as songs, images, gestures and objects. . | I will expand on these cultural forms to best historicise and contextualise how they might be used within conflict negotiation contexts. . | Exercises contained traditions, cultures, beliefs and stories to share the geographic and political landscapes of their environs. . | Further, specific (embodied and emplaced) performing arts activities provide opportunities for communities to build longer-term strategies for engaging with and intervening in the political realities in which they live. . | Core to her project was the varied use of public space for the interaction of people. . |
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