Livres 

The extraordinary story behind Degas’s groundbreaking painting of the biracial circus performer Miss La La

Edgar Degas’s Miss La La at the Cirque Fernando (1879) is one of only two paintings by the artist representing people of colour. Miss La La, born Anna Olga Brown to a white Prussian mother and African-American emancipated slave father, was a renowned performer of extraordinary daring in fin-de-siècle Paris.

Exploring the fascinating story behind Degas’s painting, this is the first in-depth study to focus on the sitter’s identity, presenting new research on her life and career, as well as unpublished photographic material tracing her tour across Europe. The book also analyses the genesis of Degas’s work, from his rapid sketches completed on the spot to his more elaborate preparatory drawings and pastels.

The son of a Creole mother from New Orleans, Degas travelled to Louisiana in 1872–73, which was to have a lasting impact on his art. This book examines the artist’s complex attitudes to ethnicity in relation to his own family background, and the representation of multiracial people in late nineteenth-century France.

This book explores why and how the personal creative practice of arts teachers in school matters. It responds to ethnographic research that considers specific works-of-art created by teachers within the context of their classrooms.

Through a classroom-based ethnographic investigation, the book proposes that the potential impact of artist-teacher practice in the classroom can only be understood in relation to the flows of power and policy that concurrently shape the classroom. It shows how artist-teacher practice functions as a creative practice of freedom tending to the present and future aesthetic life of the classroom, countering the effects of neoliberal schooling and austerity politics. The book questions what the artist-teacher can produce within that context.

Through the unique focus on artist-teacher practice, the book explores the changing nature of the classroom and the social and political dimensions of the school. It will be key reading for researchers and postgraduate students of arts education, critical pedagogy, teacher identity and aesthetics. It will also be of interest to art and design educators.

«L’homme est l’œuvre de l’art», a dit Joseph Beuys. Conviant quelques philosophes et de nombreux artistes, L’intelligence de l’art réfléchit sur l’univer­salité du phénomène artistique, le reliant à l’aspiration constitutive des humains et de leurs sociétés vers le plus-être et l’expérience augmentée. Cherchant ce qui fait l’essence de l’art, l’artiste et universitaire Danielle Boutet va loin dans la psyché créatrice de l’artiste, tout comme dans celle, participative, des récepteurs. Ce faisant, elle met en lumière notre besoin vital de sens et de nous sentir partie prenante du monde. L’art apparaît alors comme la grande technologie de l’Être, c’est-à-dire un ensemble de techniques, de savoir-faire, d’instruments et d’activités dont la fonction première, intemporelle, est d’augmenter la qualité de notre rapport au monde.

«Car qu’est-ce qu’un clavier, au fond? De simples manettes externes pour manipuler les neurotransmetteurs des sièges cérébraux du plaisir? Ou une machine expressive…? Une technologie de l’émotion et du sentiment? Oui, tout cela, en somme: un équipement pour la vie de l’esprit.»

Drawing on theoretical and empirical insights from art teachers in Canada and Europe, this edited volume explores the question of how learning in the arts can be effectively and fairly assessed in the context of higher education.

The chapters consider a rich variety of assessment practices across music, visual and plastic arts, performing arts, design, fashion, dance and music and illustrate how knowledge, competencies, skills and progress can be viably and fairly assessed. Contextual challenges to assessment are also considered in depth, and particular attention is paid to the challenges of reconciling teaching in the arts, aimed at an intuitive transformation of the student, and assessing learning that takes on its meaning in subjectivity and sensitivity.

This text will benefit researchers, academics and educators in higher education with an interest in assessment in the artistic disciplines and in the topic of creativity more broadly. Those specifically interested in educational assessment policy and the visual arts will also benefit from this book.

Desde o circo itinerante, montado sob lonas e que passava de geração em geração, muitas mudanças ocorreram, com uma tensão positiva entre a tradição e a inovação. Este livro busca, por meio de ensaios e reflexões, contribuir para a valorização do gênero, bem como de suas formas de expressão contemporâneas. Assim, participam da obra acadêmicos, pesquisadores, pensadores, gestores, críticos e artistas do Brasil, Chile, Argentina e Uruguai, além de um autor convidado da França. São abordados questões dramatúrgicas, análises históricas e estéticas, a ressignificação da corporalidade e da técnica, processos de ensino, espaços e iniciativas de promoção cultural da arte circense, entre outros.

In an other, Sharon Patricia Holland offers a new theorization of the human animal/divide by shifting focus from distinction toward relation in ways that acknowledge that humans are also animals. Holland centers ethical commitments over ontological concerns to spotlight those moments when Black people ethically relate with animals. Drawing on writers and thinkers ranging from Hortense Spillers, Sara Ahmed, Toni Morrison, and C. E. Morgan to Jane Bennett, Jacques Derrida, and Donna Haraway, Holland decenters the human in Black feminist thought to interrogate blackness, insurgence, flesh, and femaleness. She examines MOVE’s incarnation as an animal liberation group; uses sovereignty in Morrison’s A Mercy to understand blackness, indigeneity, and the animal; analyzes Charles Burnett’s films as commentaries on the place of animals in Black life; and shows how equestrian novels address Black and animal life in ways that rehearse the practices of the slavocracy. By focusing on doing rather than being, Holland demonstrates that Black life is not solely likened to animal life; it is relational and world-forming with animal lives.

Le guide ultime pour tout comprendre des blessures qu'on peut se faire en pratiquant le sport. Sous forme de planches anatomiques pour chaque blessure, avec un zoom sur la zone problématique et toutes les explications pour comprendre le mécanisme de la blessure.

Pour chaque problème, les signes et les symptômes à prendre en compte, ainsi que le protocole à mettre en œuvre pour se soigner. Chaque blessure est suivie de pages "rééducation", avec des exercices à pratiquer pour une meilleure récupération.

Le présent ouvrage collectif traite de l'acte délicat d'évaluer les apprentissages dans les disciplines artistiques au collège et à l'université. Il explore les difficultés à concilier l'enseignement en arts, domaine visant une transformation intuitive de l'étudiant, et l'évaluation d'apprentissages prenant leur sens dans la subjectivité et la sensibilité. oeuvrant dans le milieu de l'ensei­gnement supérieur, aujourd'hui orienté sur l'étudiant et sur les stratégies qu'il utilise pour apprendre, les auteurs proposent une variété de regards pour documenter la richesse des pratiques évaluatives en arts. Des concepts clés en évaluation sont articulés autour de manières d'évaluer dans plusieurs disciplines - musique, arts visuels et plastiques, arts vivants, design, mode -, tant au Québec qu'en Europe. En proposant des pistes de réflexion et des moyens pour évaluer de même que pour pallier un manque d'écrits scientifiques et professionnels sur le sujet, cet ouvrage se veut un véhicule témoignant d'une réconciliation entre l'enseignement en arts au postsecondaire et l'évaluation des apprentissages. Grâce à quatre regards thématiques, il met en avant-plan des textes en évaluation qui s'adaptent aux arts et des textes en arts qui s'adaptent à l'évaluation. Cet ouvrage intéressera les professeurs, les pédagogues, les artistes et les étudiants en arts ainsi que les spécialistes en évaluation des apprentissages animés par l'incertitude, la créativité, la subjectivité et l'éphémère.

Voici le premier livre scientifique francophone sur la thématique de la neurodiversité qui sort des idées reçues et inventées de type « 20 % de la population est hypersensible » ou « les gens trop intelligents sont malheureux ». Cet ouvrage, à destination du grand public, met en lumière les derniers débats et discussions scientifiques sur le sujet de la différence afin d'informer et de faire réfléchir pour débattre. C'est un ouvrage qui se veut réconciliateur, qui parle de neurodiversité en incluant tout le monde, le centre de la normalité et ses extrémités en sortant des débats binaires sur le handicap, l'autisme, les dys-, l'hyperactivité, la bipolarité et la schizophrénie entre autres. Il permettra une meilleure prise en compte des particularités des individus en favorisant le développement psychosocial et cognitif des enfants et adolescents en milieu scolaire et une coopération et une communication plus efficace dans le milieu professionnel.

Drawing from little-known archives, Christine Bold brings to light forgotten histories of Indigenous performers in vaudeville and, by extension, popular culture and modernity. Vaudeville was both a forerunner of modern mass entertainment and a rich site of popular Indigenous performance and notions of Indianness at the turn of the twentieth century. Tracing the stories of artists Native to Turtle Island (North America) performing across the continent and around the world, Bold illustrates a network of more than 300 Indigenous and Indigenous-identifying entertainers, from Will Rogers to Go-won-go Mohawk to Princess Chinquilla, who upend vaudeville's received history. These fascinating stories cumulatively reveal vaudeville as a space in which the making of western modernity both denied and relied on living Indigenous presence, and in which Indigenous artists negotiated agency and stereotypes through vaudeville performance.

The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. 'Making Matters' spells out various roles that visual artists and designers play facing these issues. Collective action is necessary and inevitable.

Collective action often changes the artist's identity and working habits: from individuality and autonomy to collectivity and collaboration, both locally and globally. These developments have given rise to new kinds of collective art and design practices: artists work together with non-artists, make products for their local environment and take on multiple identities, such as researcher, community activist, computer hacker or business consultant.

'Making Matters' looks at art practices across all continents that do not conform to a Western concept of art nor to traditional distinctions between art, design, research and activism?where the boundaries between art, design, research and activism become blurred or are dissolved. The entries in this vocabulary experiment with concepts and keywords of current art practices that may no longer be recognizable as art.

Toward a Transindividual Self examines the process of performing the self, distinctive for the formation of the self in Western neoliberal societies in the 21st century. It approaches the self from a transdisciplinary angle where political and cultural anthropology, performance studies, and dramaturgy intersect.

Starting from our concern with the crisis of the social, which coincides with the rise of individualism, Bojana and I critically untangle individualist modes of performing the self, such as possessive, aesthetic, and autopoietic individualisms. However, our critique does not make for an argument for collectivism as a socially more viable alternative to individualism. Instead, it confronts us with the more fundamental problem of ontogenesis: how is that which distinguishes me as an individual formed in the first place? This question marks a turning point in our study, where it steps back into the process of individuation, prior to, and in excess of, the individual.

The process of individuation, however, encompasses biological, social, and technological conditions of becoming whose real potential is transindividual, or more specifically, social transformation. A ‘theater of individuation’ (Gilbert Simondon) captures the dramaturgical stroke by which we investigate social relations (like solidarity and de-alienation) in which the self actualizes its transindividual dimension. This epistemic intervention into ontogenesis allows us to expand the horizon of transindividuation in an array of tangible social, aesthetic, and political acts and practices. As with every horizon, the transindividual may not be closely at hand; however, it is certainly within reach, and the book encourages the reader to approach it.

Drawing on his experience in the field of contemporary dance, Jeroen Peeters discusses principles, methods and practices that contribute to an understanding of dramaturgy as an experimental, collaborative practice and a material form of thinking.

Written from practice, this book reflects a particular history of collaboration and conversation with dance-makers such as Martin Nachbar, Meg Stuart, Vera Mantero, Sabina Holzer, Lisa Nelson, Jennifer Lacey, Chrysa Parkinson, deufert + plischke, Eleanor Bauer, Philipp Gehmacher and many others.

Phantasmal archaeology, unfolding material, literal and physical reading, crafting method, articulating process, witnessing and performing not-knowing, naming and ritual destruction, conceptual landscapes, symbolic waste, internal fictions and foreign objects – they may all play a role in creation and in exploring the unfamiliar in pursuit of making sense.

And then it got legs is an invitation to think along or against, to discuss those ideas with others or explore them in the studio, and eventually to imagine and devise one’s own methods of research, observation, reflection and creation.