Inclusion

Nous sommes convaincus que c’est dans la nature des arts de brandir un miroir critique de la société, et de briser les barrières  entre ses différents groupes. Cependant, notre secteur reflète-t-il fidèlement les communautés dans lesquelles nous vivons ?

Ce débat se penche sur l'urgence d'ouvrir les arts à l'ensemble de la société – à toutes les classes, les ethnicités, les capacités physiques de chacun, et à tous les milieux qui la constituent. 

Partager

Nell’affrontare la questione della classe in relazione al mondo dell’arte contemporanea due domande vengono in primo piano: Fino a che punto le figure professionali all’interno del mondo dell’arte sono interessate a problematiche relative alla classe sociale di provenienza, alla diseguaglianza, al consumismo, al sessismo e al razzismo? Come risponde l’apparato concettuale dell’arte contemporanea al progressivo e diffuso deterioramento delle condizioni sociali ed economiche?
Médaille d’argent du CNRS en 2012, Bernard Lahire n’est pas pour autant un sociologue consensuel, et ne cher- che surtout pas à l’être. Dans une discipline qui a toujours eu tendance à assimiler le social au collectif, son effort pour produire une « sociologie des individus » ne laisse pas indifférent. Certains collègues ont pu lui reprocher d’effacer le rôle des classes. Il s’en défend ardemment.
We develop and test the idea that public appreciation for authentic lowbrow culture affords an effective way for certain elites to address feelings of authenticity-insecurity arising from “high status denigration” (Hahl and Zuckerman 2014). This argument, which builds on recent sociological research on the “search for authenticity” (e.g., Grazian 2005) and on Bourdieu’s (1993) notion of artistic “disinterestedness,” is validated through experiments with U.S. subjects in the context of “outsider” art (Fine 2004).
The manual has been compiled in the context of the international project Un-Label. The wide variety of contributions from different perspectives present a comprehensive overview of the two-year model programme.
Contact has avoided having to ask whether its work is diverse enough by putting diversity at the root of decision-making. Matt Fenton and Reece Williams share Contact’s story.
Inquiry carried out by party found stage and screen increasingly dominated by people from well-off backgrounds
MAP, the Media Accessibility Platform, is a unified atlas charting the worldwide landscape of research, policies, training and practices in this field. MAP aims to make media accessible to all, regardless of sensorial and linguistic barriers.
Something exciting is happening across Europe; organisations are opening their eyes to the aesthetic challenge often posed by disabled artists. Joe Turnbull, Assisant Editor of Disability Arts Online speaks to Ben Evans, Head of Arts and Disability, EU Region at the British Council to discuss how sharing expertise can capitalise on this momentum.
photo of the seminar Ahead of the Curve in Berlin, May 2017
Twelve years in but ahead of the curve – is the 2005 UNESCO Convention still the right tool for the promotion and protection of the diversity of cultural expressions? Has it ever been? What do the marginalised voices need to do in order to influence global debates and policy making and how do we tackle the many crises of our times?
Through the analysis of the CDCE’s transfer from international level to Mercosur and ASEAN regions, my article seeks to explore four key questions : why do actors engage in norm transfer ? Who are the key actors involved in the norm transfer process ? What is transferred and why ? What restricts or facilitates the norm transfer process ?

Pages

Already a member?

Identifiez-vous to post your own content or join the discussion.

Ou pour nous rejoindre.