Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today's hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors-from the arts, art history, sociology, political science, and philosophy-to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

The contributors have extensive experience working with children in war zones across the world. The descriptions and dialogue are capable of drawing psychologists, policy makers, anthropologists, and peacemakers together. When wars are fought in the midst of civilian activity, as they so often are in poorer countries, the effects on children are devastating. ""A World Turned Upside Down"" looks at the experiences of children in war from a psychological perspective, specifically from a social ecologist's view, offering thoughtful observations and dispelling myths about what results from growing up in conflict situations. In contrast to individualized approaches, the volume offers a deeper conceptualization that shows the impacts of war as socially mediated. In this view, it is expected that two children exposed to the same traumatic experience (e.g., attack) may have different reactions and needs for psychosocial support. Further, psychosocial assistance to war-affected children often occurs not through the provision of therapy by outsiders but via support from insiders. Each contributor has worked extensively with children in war zones in Europe, Africa, Latin America, and Asia. They step back from viewing these children as victims of trauma, soldiers, or refugees, and reveal a holistic understanding of their experiences within their families and communities. Knowing these social connections, they argue, helps pinpoint ways of fostering well-being and even reducing further violence.

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today's hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors-from the arts, art history, sociology, political science, and philosophy-to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.