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Politics as Public Art presents a keystone collection that pursues
new frameworks for a critical understanding of the relationship
between public art and protest movements through the utilization of
socially engaged and choreopolitical approaches. This anthology
draws from a unique combination of interdisciplinary scholarship
and activism where it integrates geographically rich perspectives
from political and grassroots community contexts spanning the
United States, Europe, Australia, and Southeastern Africa. The
volume questions, and reimagines, not only how public art practice
can be integral to politics, including forms of surveillance and
control of bodily movement. It also probes into how political
participation itself can be construed as a form of public artmaking
for radical social change and just worlds. This collection
advocates for scholar-activist inquiry into how socially engaged
public art practices can pave the way for thinking through-and
working toward-championing more inclusive futures and, as such,
choreographing greater intersectional justice. This book provides a
wide appeal to audiences across humanities and social science
scholarship, arts practice, and activism seeking conceptual and
empirically informed tools for moving from public art and
choreopolitical theory into modes of praxis: critical reflection
and action.
Politics as Public Art presents a keystone collection that pursues
new frameworks for a critical understanding of the relationship
between public art and protest movements through the utilization of
socially engaged and choreopolitical approaches. This anthology
draws from a unique combination of interdisciplinary scholarship
and activism where it integrates geographically rich perspectives
from political and grassroots community contexts spanning the
United States, Europe, Australia, and Southeastern Africa. The
volume questions, and reimagines, not only how public art practice
can be integral to politics, including forms of surveillance and
control of bodily movement. It also probes into how political
participation itself can be construed as a form of public artmaking
for radical social change and just worlds. This collection
advocates for scholar-activist inquiry into how socially engaged
public art practices can pave the way for thinking through-and
working toward-championing more inclusive futures and, as such,
choreographing greater intersectional justice. This book provides a
wide appeal to audiences across humanities and social science
scholarship, arts practice, and activism seeking conceptual and
empirically informed tools for moving from public art and
choreopolitical theory into modes of praxis: critical reflection
and action.
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