In his essay “Translations: The Distinction Between Social and Civic Practice and Why I Find It Useful,” Michael Rohd defines civic practice as “activity where an artist employs the assets of his/her craft in response to the needs of non-arts partners as determined through ongoing relationship-based dialogue. The impulse of what to make comes out of the relationship, not an artist-driven proposal.” You’ll find lots of content putting these ideas into action in this section.
In this episode, the intimacy of self and group expression brings loving relationships of all kinds into being-–deep friendships, Jan and Finn’s romance, familial feelings, and ancestral bonds–with joys, like unexpected connections, and complications, including the challenge of racial difference.
This episode takes a closer look at the interplay of particular participants and group dynamics in the workshops. They get to know each other by making theatre together and empathize with people from radically different circumstances. Jan and Finn begin a slow courtship. The drama club becomes a safe space for Mama Glo.
The different prison theatre workshops get started. This episode explores their diverse atmospheres, why people join and who they are, early exercises, initial challenges, first impressions, hopes, and expectations. Finn and Jan meet on Day One, her twenty-first birthday.
Each of the dialogues in this series speaks of the connection between political activism, creativity, and spirituality— and highlights the importance of intergenerational knowledge-sharing for the future of the Live Arts and Theatre sectors of the UK.
