Title: Kde pramení hlavní proud? A jak pracovat s komunitami mimo něj?
Variant title:
- Where the mainstream swells and how to work with communities outside the mainstream
Source document: Studia paedagogica. 2014, vol. 19, iss. 2, pp. [141]-154
Extent
[141]-154
-
ISSN1803-7437 (print)2336-4521 (online)
Persistent identifier (DOI): https://doi.org/10.5817/SP2014-2-9
Stable URL (handle): https://hdl.handle.net/11222.digilib/130257
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
References
[1] Boal, A. (1979). Theatre of the oppressed. London: Pluto Press.
[2] Felshin, N. (1995). But is it art? The spirit of art as activism. Seattle: Bay Press.
[3] Finley, S. (2005). Arts-based inquiry. In N. K. Denzin & Y. S. Lincoln (Eds.), The Sage handbook of qualitative research (3rd ed). (s. 681–694). Thousand Oaks: Sage Publications.
[4] Greenwood, J., & Wilson, A. M. (2006). Te Mauri Pakeaka: A journey into the third space. Auckland: Auckland University Press.
[5] Greenwood, J. (2005). Journeying into the third space: A study of how theatre can be used to interpret the space between cultures. Youth Theatre Journal, 19(1),1–16. | DOI 10.1080/08929092.2005.10012573
[6] Greenwood, J. (2010). Tracing the voyage of an ancestral canoe: Working in drama crossculturally. In J. Shu, Y. P. Chan, L. A. McCammon, A. Owens, & J. Greenwood (Eds.), Planting trees of drama with global vision in local knowledge: IDEA 2007 dialogues. Hong Kong: IDEA.
[7] Hunn, J. K. (1961). Report on Department of Maori affairs: with statistical supplement, 24 August 1960. Wellington: Government Printer.
[8] Johnson, L., & O'Neill, C. (Eds.). (1984). Dorothy Heathcote: Collected writings on education and drama. London: Hutchinson.
[9] Kawharu, I. H. (1989). Waitangi: Maori and Pakeha perspectives of the treaty. Auckland: Oxford University Press.
[10] Neelands, J. (2009). Acting together: ensemble as a democratic process in art and life. Research in Drama Education: The Journal of Applied Theatre and Performance, 14(2), 173–189. | DOI 10.1080/13569780902868713
[11] O'Brien, A., & Donelan, K. (2010). Creative interventions for marginalised youth: The risky business project. Brisbane: Drama Australia.
[12] O'Farrell, L., & Mason, R. (2004). Issues in arts education in Latin America. Ontario: Queens University.
[13] O'Neill, C. (1995). Drama worlds: A framework for process drama. Portsmouth: Heinemann.
[14] Orange, C. (1987). The treaty of Waitangi. Auckland: Allen & Unwin.
[15] O'Toole, J., Burton, B., & Plunkett, A. (2004). Cooling conflict: A new approach to managing bullying and conflict in schools. Frenchs Forest: Pearson Education.
[16] Prentki, T., & Preston, S. (Eds.). (2009). The applied theatre reader. London: Routledge.
[17] Rangihau, J. (1975). Being Maori. In M. King (Ed.), Te Ao Hurihuri (s. 221–233). Auckland: Hicks Smith.
[18] Said, E. (1978). Orientalism. New York: Vintage Books.
[19] Schön, D. (1993). The reflective practitioner: How professionals think in action. New York: Basic Books.
[20] Smith, L. T. (1999). Decolonizing methodologies: Research and indigenous peoples. Dunedin: University of Otago Press.
[21] Spivak, G. Ch. (1996). Translator's preface tand afterwird to Mahasweta Devi's imaginary maps. In D. Landry & G. MacLean (Eds.), The Spivak reader. New York: Routledge.
[22] TEARA: The encyclopedia of New Zealand (nedatováno). Dostupné z: http://www.teara.govt.nz/en/maori-new-zealanders.
[23] Walker, R. (1990). Ka Whawhai Tonu Matou: Struggle without end. Auckland: Penguin.
[2] Felshin, N. (1995). But is it art? The spirit of art as activism. Seattle: Bay Press.
[3] Finley, S. (2005). Arts-based inquiry. In N. K. Denzin & Y. S. Lincoln (Eds.), The Sage handbook of qualitative research (3rd ed). (s. 681–694). Thousand Oaks: Sage Publications.
[4] Greenwood, J., & Wilson, A. M. (2006). Te Mauri Pakeaka: A journey into the third space. Auckland: Auckland University Press.
[5] Greenwood, J. (2005). Journeying into the third space: A study of how theatre can be used to interpret the space between cultures. Youth Theatre Journal, 19(1),1–16. | DOI 10.1080/08929092.2005.10012573
[6] Greenwood, J. (2010). Tracing the voyage of an ancestral canoe: Working in drama crossculturally. In J. Shu, Y. P. Chan, L. A. McCammon, A. Owens, & J. Greenwood (Eds.), Planting trees of drama with global vision in local knowledge: IDEA 2007 dialogues. Hong Kong: IDEA.
[7] Hunn, J. K. (1961). Report on Department of Maori affairs: with statistical supplement, 24 August 1960. Wellington: Government Printer.
[8] Johnson, L., & O'Neill, C. (Eds.). (1984). Dorothy Heathcote: Collected writings on education and drama. London: Hutchinson.
[9] Kawharu, I. H. (1989). Waitangi: Maori and Pakeha perspectives of the treaty. Auckland: Oxford University Press.
[10] Neelands, J. (2009). Acting together: ensemble as a democratic process in art and life. Research in Drama Education: The Journal of Applied Theatre and Performance, 14(2), 173–189. | DOI 10.1080/13569780902868713
[11] O'Brien, A., & Donelan, K. (2010). Creative interventions for marginalised youth: The risky business project. Brisbane: Drama Australia.
[12] O'Farrell, L., & Mason, R. (2004). Issues in arts education in Latin America. Ontario: Queens University.
[13] O'Neill, C. (1995). Drama worlds: A framework for process drama. Portsmouth: Heinemann.
[14] Orange, C. (1987). The treaty of Waitangi. Auckland: Allen & Unwin.
[15] O'Toole, J., Burton, B., & Plunkett, A. (2004). Cooling conflict: A new approach to managing bullying and conflict in schools. Frenchs Forest: Pearson Education.
[16] Prentki, T., & Preston, S. (Eds.). (2009). The applied theatre reader. London: Routledge.
[17] Rangihau, J. (1975). Being Maori. In M. King (Ed.), Te Ao Hurihuri (s. 221–233). Auckland: Hicks Smith.
[18] Said, E. (1978). Orientalism. New York: Vintage Books.
[19] Schön, D. (1993). The reflective practitioner: How professionals think in action. New York: Basic Books.
[20] Smith, L. T. (1999). Decolonizing methodologies: Research and indigenous peoples. Dunedin: University of Otago Press.
[21] Spivak, G. Ch. (1996). Translator's preface tand afterwird to Mahasweta Devi's imaginary maps. In D. Landry & G. MacLean (Eds.), The Spivak reader. New York: Routledge.
[22] TEARA: The encyclopedia of New Zealand (nedatováno). Dostupné z: http://www.teara.govt.nz/en/maori-new-zealanders.
[23] Walker, R. (1990). Ka Whawhai Tonu Matou: Struggle without end. Auckland: Penguin.