Inobe~ Cornerstone Questions

Inobe~

Cornerstone Questions

Why arts and the community? What sparked this desire to create powerful and unique theater work? What's the founder's reason? Why California?

What is Cornerstone’s process for choosing a particular subject matter, and for selecting a certain community to join and help tell their story? Do you start with staff interacting with a community first discussing concerns, and allow work to be formed from that process? What’s your method?

How was “talk it out”, the Coachella project born? When plays are over does Cornerstone remain connected to the community to keep the dialogue going? What's the length of interaction before deciding a play will be created? What’s the average time frame for preparing community work for the stage? How often has Cornerstone created works that were never viewed, and if so what were some of the reasons why?

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Jeremy Griffith - The Roof is on Fire

1. CONTEXT: What were the circumstances that framed the meaning and process of this project? There are many minority teens in low-income, low-opportunity areas who have unheard voices. Their self-esteem isn't cultivated and all of their portrayal in the media is negative. 2. CONTENT: What was the issue, need, idea or opportunity addressed by this project? Teen voices were unheard, opinions of them were based on negative media stereotypes, and many of them had very poor self-esteem. 3: FORM: What is the medium that was used to address or embody the content? Immersive theatre in the form of car-conversations that audience members could eavesdrop on. 4. STAKEHOLDERS: Which are the groups or individuals that were invested in the project? The teenagers were very invested because of their desire to free their voices. The adults who helped were invested because they wanted to help these kids start to change the narrative. And the d...

Geneva Heron Assignments

Assignment: Aesthetic Evangelists - Due 1/30 Three key ideas in the text that resonate with me: The first is the idea of the "new public art," or what we would call "community engaged art." The article discusses the transition from art displayed in public sites to community based projects that have the goal of collaboration and focus more on the process than the end result/outcome. This intrigues me because before this class I was honestly very unaware of this form of art-making and its growing prevalence. Another idea that resonates with me is when the author talked about community based public art of today drawing on the urban reform rhetoric of the past both consciously and subconsciously. This stood out because it's an old adage that history repeats itself and I think it's interesting that the times we live in now call for a callback to this type of work and a more curious examination of what this can do for people and their communities. Th...

Arts and Community Engagement 2018

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