Current: Masters of Professional Studies: Arts and Cultural Policy, Pratt Institute Capstone Project:

CIVIC CULTURE CLOWNS, Hilarie Spangler, Megan Watt, Audrey Schalhoub, Pierrott Shen, Blair Chen

We are inspired by clowns and their long history of being catalysts for critical thinking and explosive dialogue. Seen today by many as a nightmarish villain or an exaggerated character of a period gone by, we see clowns as a symbol of giving power to the common people and activating communication in a way that transcends common barriers we see in many communities.

Commedia dell’Arte or The Art of Comedy was developed in 16th Century Italy, as a combination of folk traditions including: dance, mask, spoken word, and tableau. It lived in parallel to similar techniques found in Japanese Noh theater. Noh which is depicted as the symbol kana means “accomplishment” or “professional ability”. At the time, mask theater was of the highest possible artistic achievement sought out. 

By 1717, the original Commedia shifted and most Italian players had shifted their focus from just artistic excellence to creating dialogue. The Fair was a mutual place for those excluded from the clergy and nobility to gather, however- dialogue was forbidden in the fairs, by law.  Except in the puppet booths. So the actors began reaching into their origins to utilize mask, puppetry, juggling, and clowning as a vessel to speak of controversial subjects and the state of their community. 

This history is what solidifies our belief that mask work, clowning, and physical theater is a direct vessel for community discussion. The art of Clowning was born out of a direct need to have critical discussion about the state of their community, and at the time, humor/entertainment was the only vessel that was safe to do so. When speech of the people was limited, it was the job of the “character” to be the voice for the unheard. Clowns have a “mask” that can hide people and their feelings. It provides an anonymous voice in larger discussions that can be free from prejudice and preconceived notions related to the speaker themselves. This is why clowns are, quite possibly, the most appropriate application of community engagement and change in the world of performing arts. We see the techniques and process as a direct informant for a Community Conversation Framework.

Bachelors of Arts in Theater, Bachelors of Science in Community-Based Arts, Western Kentucky University CET Thesis Project:

THE ART OF CONNECTING

The power that is wielded when people come together to engage in discussion, application, and exploration of the state of their community is unlike any other power. When that exploration is done through artistic outlets, the work transitions from discussion into creation, and creation is where we find innovation.

This project is a collection of examples, testimonies, stories, and methods that explore the power of storytelling and community engagement as restorative practice. It is the written part of my broader Capstone Experience which culminated in the creation of Cardinal Cross arts collective. This work builds on my curiosity and drive to learn by doing, and functions as a portfolio of work that I, as an artist and culture bearer, have engaged with, observed, learned from, and created. The theme that is carried through this project is that of artistic expression and education for social change and restoration, in various forms. I have chosen several different artistic movements and programs that each contribute in making social change in communities. Further, I have worked traveled widely to observe the power and restorative power of storytelling in building community. This project consists of case studies, a personal method for the devising process, reflections, and the development of a 21st century arts collective that embodies the various aspects of which I have researched.

Keywords: Cultural Identity and Belonging, Community Restoration, Ambivalence of Place, Performance Art, Storytelling, Cultural Rifts, Community-Based Arts, Theatre Performance, Rural-Urban Plurality

From Session to Story to Space: The Exploration of Irish and Appalachian Musical Placemaking in Community Spaces. 

Co-Authored and Researched with Megan Watt

By observing live Irish music sessions in two boroughs of New York City, we investigate what role these sessions play in the lives of those present, the constructed norms of these spaces and how they parallel story-circles, and how the history of immigration to New York City has impacted the evolution of Irish music in America and the creation of third spaces. 

We discovered a web of community that spins from bar to bar, borough to borough and  extends connects the musicians to a network that has no borders. 

In addition to the research conducted in Irish Sessions, specifically in New York City. The project also looks at parallels within the Appalachian Coalfields and the relationship between story and song to the cultural identity in various Eastern Kentucky communities. This research was conducted prior to the session ethnography and serves as a deeper expression of the comparison between two cultural place-making activities.