{"id":2040,"date":"2021-02-19T02:59:00","date_gmt":"2021-02-19T01:59:00","guid":{"rendered":"https:\/\/www.iccira.org\/wp\/?p=2040"},"modified":"2021-03-19T03:10:09","modified_gmt":"2021-03-19T02:10:09","slug":"forces-of-art","status":"publish","type":"post","link":"https:\/\/www.iccira.org\/wp\/?p=2040","title":{"rendered":"Forces of Art"},"content":{"rendered":"\n<p><strong><em>Forces of Art<\/em>\u00a0challenges assumptions and suggests new ways of thinking about the values that art and culture have for their societies. Through multiple perspectives, methodologies, and voices, it charts a path to understanding the complex ways in which artistic and cultural practices shape and are profoundly shaped by societies and communities worldwide.<\/strong><\/p>\n\n\n\n<h4 class=\"wp-block-heading\">THE INITIATIVE<\/h4>\n\n\n\n<p><em>Forces of Art<\/em>&nbsp;is an international research initiative that examines the ways in which artistic and cultural activities shape their own societies. It was initiated jointly in 2018 by the Prince Claus Fund, Hivos and the European Cultural Foundation (ECF), three foundations that support culture internationally. Their goal was to avoid preconceived notions of \u2018success\u2019 and to examine the ways in which art reveals its transformative force for and within societies. The research could not have come at a more timely moment, when arts and culture are facing unprecedented pressure.<\/p>\n\n\n\n<p>Fifteen independent teams of researchers were invited to select as case studies projects that had been supported by the three foundations within the past decade. The researchers were free to choose their own framework and methodology. The resulting studies of 38 cultural initiatives place the diversity of art and culture in context and offer nuanced views on the ways they affect their societies.<\/p>\n\n\n\n<p>The studies have now been compiled in a book titled\u00a0<a href=\"https:\/\/forces-of-art.org\/book\">\u2018Forces of Art: Perspectives from a Changing World\u2019<\/a>, edited by Carin Kuoni, Jordi Balt\u00e0 Portol\u00e9s, Nora N. Khan, and Serubiri Moses.<\/p>\n\n\n\n<p>Source: <a href=\"https:\/\/forces-of-art.org\/about\">Forces of Art<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Forces of Art\u00a0challenges assumptions and suggests new ways of thinking about the values that art and culture have for their societies. Through multiple perspectives, methodologies, and voices, it charts a path to understanding the complex ways in which artistic and cultural practices shape and are profoundly shaped by societies and&#46;&#46;&#46;<\/p>\n","protected":false},"author":1,"featured_media":2041,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"footnotes":""},"categories":[5,7],"tags":[],"class_list":["post-2040","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-cultures-one","category-creative-industries"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Forces of Art - ALL ABOUT GLOBAL CULTURAL LEGAL AND REGULATORY MATTERS<\/title>\n<meta name=\"description\" content=\"International Cultural and Creative Industries Regulatory Authority\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.iccira.org\/wp\/?p=2040\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Forces of Art - ALL ABOUT GLOBAL CULTURAL LEGAL AND REGULATORY MATTERS\" \/>\n<meta property=\"og:description\" content=\"International Cultural and Creative Industries Regulatory Authority\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.iccira.org\/wp\/?p=2040\" \/>\n<meta property=\"og:site_name\" content=\"ALL ABOUT GLOBAL CULTURAL LEGAL AND REGULATORY MATTERS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/iccira\" \/>\n<meta property=\"article:published_time\" content=\"2021-02-19T01:59:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-03-19T02:10:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.iccira.org\/wp\/wp-content\/uploads\/2021\/03\/tiny-toones.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"602\" \/>\n\t<meta property=\"og:image:height\" content=\"400\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Administrator\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@iccira_official\" \/>\n<meta name=\"twitter:site\" content=\"@iccira_official\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Administrator\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.iccira.org\/wp\/?p=2040#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.iccira.org\/wp\/?p=2040\"},\"author\":{\"name\":\"Administrator\",\"@id\":\"https:\/\/www.iccira.org\/wp\/#\/schema\/person\/58174e635239592659509f99771848e8\"},\"headline\":\"Forces of Art\",\"datePublished\":\"2021-02-19T01:59:00+00:00\",\"dateModified\":\"2021-03-19T02:10:09+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.iccira.org\/wp\/?p=2040\"},\"wordCount\":246,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/www.iccira.org\/wp\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.iccira.org\/wp\/?p=2040#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.iccira.org\/wp\/wp-content\/uploads\/2021\/03\/tiny-toones.jpg\",\"articleSection\":[\"All Cultures, One!\",\"Creative Industries\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/www.iccira.org\/wp\/?p=2040#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.iccira.org\/wp\/?p=2040\",\"url\":\"https:\/\/www.iccira.org\/wp\/?p=2040\",\"name\":\"Forces of Art - 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The events draw curious onlookers as well as street kids to see the group perform. Such events are used as outreach to the city?s poor and young...The Tiny Toones break dancing troupe was founded by Tuy Sobil, a 30 yr old Cambodian deported from the United States in 2004. Tiny Toones members are are drilled in discipline, honesty, and solidarity and drug abuse is not tolerated. The at-risk kids also learn English from volunteers, usually other deportees from the US, and dance performances allow the kids to help raise money for both Tiny Toones and for themselves to help pay for school fees...Tuy Sobil, aka \\\"KK\\\" (gang-style initials for \\\"Crazy Crip\\\"), joined the Crips gang in Long Beach, California and dropped out of school. An armed robbery conviction when he was 18 sent his life spiraling downward. Born in a refugee camp in Thailand in 1977 to escapees from the Khmer Rouge killing fields and taken to the US as an infant, Tuy never became a US citizen, and the felony conviction was followed by a decade in jail and immigration detention centers. Like many of the nearly 200 Cambodian Americans forced to return under a US law that allows deportation of noncitizens with criminal convictions, from shoplifting to murder, Tuy speaks Khmer but cannot read or write the language and struggles reading English, leaving him, like many deportees, with few opportunities in Cambodia. Like most of the deportees he is viewed as an outsider, and his gang tattoos and American hip-hop styles mark him as such...\u00a92007 Stuart Isett. 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The events draw curious onlookers as well as street kids to see the group perform. Such events are used as outreach to the city?s poor and young...The Tiny Toones break dancing troupe was founded by Tuy Sobil, a 30 yr old Cambodian deported from the United States in 2004. Tiny Toones members are are drilled in discipline, honesty, and solidarity and drug abuse is not tolerated. The at-risk kids also learn English from volunteers, usually other deportees from the US, and dance performances allow the kids to help raise money for both Tiny Toones and for themselves to help pay for school fees...Tuy Sobil, aka \"KK\" (gang-style initials for \"Crazy Crip\"), joined the Crips gang in Long Beach, California and dropped out of school. An armed robbery conviction when he was 18 sent his life spiraling downward. Born in a refugee camp in Thailand in 1977 to escapees from the Khmer Rouge killing fields and taken to the US as an infant, Tuy never became a US citizen, and the felony conviction was followed by a decade in jail and immigration detention centers. Like many of the nearly 200 Cambodian Americans forced to return under a US law that allows deportation of noncitizens with criminal convictions, from shoplifting to murder, Tuy speaks Khmer but cannot read or write the language and struggles reading English, leaving him, like many deportees, with few opportunities in Cambodia. Like most of the deportees he is viewed as an outsider, and his gang tattoos and American hip-hop styles mark him as such...\u00a92007 Stuart Isett. 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