This paper is a response to growing excitement about arts-engaged research in geography. More and more geographers are practicing participatory arts projects to co-investigate pressing issues with communities. However, there are a lack of reflexive discussions about the limits of this work within the confines of the neoliberal and colonial university pressuring researchers to produce 4-star work that makes an impact, or measurable change. Here I add criticality to our understanding of the pitfalls and potential of arts-based analyses.
Some of the perennial tensions in applied theatre arise from the ways in which practice is funded or financed. They include the immediate material pressures and pragmatic dilemmas faced by theatre makers on the ground and the struggle to secure the resources needed to produce and sustain work or to negotiate the dynamics and demands of particular funding relationships. In the applied theatre literature, there are many examples of groups and organizations that have compromised their political, pedagogic, artistic or ethical principles to make their work economically viable.
Applied Theatre: Economies addresses a notoriously problematic area: applied theatre's relationship to the economy and the ways in which socially committed theatre makers fund, finance or otherwise resource their work.
This dissertation explores the contours of artistic economic activity through participatory action research conducted with artists and artisans in the Greater Franklin County, Massachusetts. The creative economy has drawn significant attention over the past ten years as a principle economic sector that can stimulate the redevelopment of post-industrial cities.
Artists and artisans have a crucial role in the sustainability of the creative economy. By utilizing a participatory action research approach seeded by the work of J. K. Gibson-Graham, Jenny Cameron, and Julie Graham's study of community economies in the Pioneer Valley, The Rethinking the Creative Economy Project demonstrates how a collaborative research methodology can reappropriate development from the exploitation of artists and artisans as a panacea for economically challenged communities and as a tool that can help perform a postcapitalist environment.
In 1980, R. W. Butler published his tourism area cycle of evolution model graphing a correlation of number of tourists on the y-axis and time on the x-axis. Although a location’s capacity for number of tourists and the specific number of sustainable years may vary from location to location, Butler proposed that every tourist location evolves through a common set of stages: exploration, involvement, development, consolidation, stagnation, and then some variation of rejuvenation or decline.