of the best-known civil society community-based research organizations
in the world, the Society for Participatory Research in Asia (PRIA), builds capacity
with grass-roots NGOs in India. Chapter 5 provides evidence of the impact of
community–university research partnerships on the curriculum in several HEIs.
Chapter 6 tells us about the policy dance that community–university research
partnerships are engaged in, by looking at the work of the European science shop
movement. Chapter 7 is an evaluation framework for partnership research that
has emerged from
dance does not make us dancers, how much less
likely is it that watching moral paragons will make us such? Or, if
we simply need assurance that such behavior is possible and yet
cannot find it in the world around us, then the film has sailed past
optimism and into fantasy.
Setting this aside, my more particular claims about
the substance of these films is that the need to please
of music; motorized transportation destroyed the art of
horsemanship; the great singing and dancing movies of the twentieth
century coincided with the demise of routine instruction in singing
and dancing for the middle class. How is it that I, a supposedly
well-educated individual of the twenty-first century, can neither
recite poetry nor play an instrument, nor ride a
: film is in direct competition with God
for the creation of worlds. No other art could claim as much, though
all other media have tried. Every other art form relies on the
presence of a viewer/spectator to enact worlds via the enlivening
motility of the imagination. Poetry, novels, painting, sculpture
– even theater and dance! – all these require an
audience. Film does not. For
After the Demerara uprising many enslaved Africans
took the Biblical narrative with them as they turned away from white
churches that seemed to be hand in glove with massa and headed back
to the spiritual hinterlands, there to plant the Bible. In Guyana,
Obeah practices – that is, night time meetings accompanied by
drumming, chanting and dancing – were regularly outlawed
’s argument, what is the process of group discussion. So
the central focus of this exercise remains the discussion process rather than the
Another method with immense potential in helping the participants get
over stage fright and express themselves freely is the Cultural Programme. This
breaks the ice and gets them ready for future participation in the public domain.
During training programmes, all candidates are asked to participate in a cultural
programme organized by PRIA. Candidates come forth and give their names for
different activities such as dance, song
The impact of EU membership and advancing integration
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The European Union and Developing Countries, Houndmills: Macmillan.
Byron, J. (2000), ‘Square dance diplomacy: Cuba and CARIFORUM, the European
Union and the United States’, European Review of Latin American and Caribbean
Studies, no. 68, pp. 23–45.
CEC (1996), ‘Green Paper on Relations between the European Union and the ACP
Countries on the Eve of the 21st Century: Challenges and Options for a New Partnership’, COM(96) 570 final, Brussels, 20 November.
CEC (2000a), ‘Communication on the European Community’s Development Policy’,
COM(2000) 212 final, 26
demonstrations of thousands of people
marching in opposition to the war and, perhaps more importantly, celebrating
life, with humour, music and dance. The central organising groups in most urban
centres consisted of the usual assortment of Trotskyists, anarchists, Leftists,
trades unionists and students, but also present were members of the Muslim communities, Quakers, former soldiers and so on. The means of protest were perhaps
less creative than some of us would have liked, but there seemed to be an acknowledgement by many that simply marching down the street with banners
from the ‘valid’ person’s perspectives and communicating through ‘valid’ media,
‘validated’ persons must learn to look at and experience the world through the
eyes of the ‘invalid’, through media that reduce misinterpretation by their immediacy and accessibility to both parties.
Children partake in the production of art and creativity throughout their
daily lives. As ‘sane’ ‘normal’ ‘adults’, we have often simply forgotten how to recognise it and so we forget the importance of such things as listening to music,
dancing down the street, climbing trees, staring at
Egoism and the Separateness of Persons’, in J. Dancy (ed.),
Reading Parfit (Oxford, Blackwell, 1997), pp. 96–134, K.
Graham, ‘Being Some Body’, in B. Brecher, J. Halliday and K.
Kolinská (eds), Nationalism and Racism in the Liberal Order
(Aldershot, Ashgate, 1998), pp. 182–8, Raz, Morality of
Freedom , pp. 271–87.