Lee Higgins
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199777839
- eISBN:
- 9780199950218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199777839.003.0002
- Subject:
- Music, Ethnomusicology, World Music, Psychology of Music
This chapter examines the community arts scene in the UK and community cultural development from the US. As an initially Western enterprise, community arts grew from the development of new artistic ...
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This chapter examines the community arts scene in the UK and community cultural development from the US. As an initially Western enterprise, community arts grew from the development of new artistic expressions that offered a challenge to the dominant culture, cumulating in the counter-revolution of the 1960s and 1970s. Using this as a starting point, the chapter plots the ideology, context and definitions that shaped the UK’s community arts movement. International manifestations of socially responsibly art are considered alongside this case demonstrating that community arts as a movement was a product of its time, a cultural expression that emerged from cultural upheaval and professional community development practices initiated after World War II. This leads into a discussion of “community cultural development,” a lens through which contemporary international community music practice can now be seen. This broadens the historic perspective to include developments particularly representative in the US and Australia.Less
This chapter examines the community arts scene in the UK and community cultural development from the US. As an initially Western enterprise, community arts grew from the development of new artistic expressions that offered a challenge to the dominant culture, cumulating in the counter-revolution of the 1960s and 1970s. Using this as a starting point, the chapter plots the ideology, context and definitions that shaped the UK’s community arts movement. International manifestations of socially responsibly art are considered alongside this case demonstrating that community arts as a movement was a product of its time, a cultural expression that emerged from cultural upheaval and professional community development practices initiated after World War II. This leads into a discussion of “community cultural development,” a lens through which contemporary international community music practice can now be seen. This broadens the historic perspective to include developments particularly representative in the US and Australia.
Steven L. Isoardi
- Published in print:
- 2006
- Published Online:
- May 2012
- ISBN:
- 9780520245914
- eISBN:
- 9780520932241
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520245914.003.0010
- Subject:
- Music, History, American
This chapter focuses on the resurgence of the Underground Musicians and Artists Association (UGMAA) and Pan Afrikan Peoples Arkestra (PAPA) in the 1990s. It describes the effect of the 1992 uprising, ...
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This chapter focuses on the resurgence of the Underground Musicians and Artists Association (UGMAA) and Pan Afrikan Peoples Arkestra (PAPA) in the 1990s. It describes the effect of the 1992 uprising, a multiracial reaction to accumulating social and economic inequalities and injustices, on the organizations. It explains that while the uprising did little to alter the economic status quo, it did to some extent lift the torpid social atmosphere of the 1980s and galvanized the community's artists. The community arts movement of South Central Los Angeles was also rejuvenated.Less
This chapter focuses on the resurgence of the Underground Musicians and Artists Association (UGMAA) and Pan Afrikan Peoples Arkestra (PAPA) in the 1990s. It describes the effect of the 1992 uprising, a multiracial reaction to accumulating social and economic inequalities and injustices, on the organizations. It explains that while the uprising did little to alter the economic status quo, it did to some extent lift the torpid social atmosphere of the 1980s and galvanized the community's artists. The community arts movement of South Central Los Angeles was also rejuvenated.
