Aesthetic Evangelists by Mohammed Elmasry

1. Inherent differences when comparing government communities to other communities, namely artistic communities. Political art being considered radical and un-favored by certain government bodies, as expected.

2. The artist using aesthetic as a measurement of artistic capability or even as a way to connect to the priori.

3. The inevetability of political art backfiring - doing more damage to the cause in question rather than creating a revolutionary concept.

Questions:

1. Does art created in more privileged communities have less of an impact on political causes? If so, why?

2. If a person was not in a community, lets say they were isolated on an island for their entire life with no other people, and yet somehow was able to survive; what would they think of art? Would they be able to perceive it as we do?

3. How does a community learn to create art that also directly benefits its fitness?

Comments

Mind Map

What a Riot - Bri Pattillo

I like the Theater of the Oppressed methodology of the Joker. It sort of reminded me of El Pachuco in “Zoot Suit”, like this narrator commenting on all the action. I thought the Joker methodology was a good way to introduce a Theater of the Oppressed tactic into the piece. A lot of the Theater of the Oppressed options that we read about last week have an element of questioning within in them, but I think the Joker was a good one to use with young people. It was nice and cool that she was able to include the students’ actual questions into the play. I did think her approach was rather problematic. She highlighted the problem herself and posed the question, “To whom and to what is the author beholden when writing a play for a specified population that has been invited to contribute to the playwriting process?” My problem was her answer, when she said that the students didn’t understand all of the references or language in the play. I don’t...

Arts and Community Engagement 2018

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