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the “knowledge” and the students passively receive it (Huba & Freed, 2000). Freire (1972) coined the term banking education for this methodology, whereby knowledge is “deposited” in the student’s consciousness. Banking education leaves very little room for the student’s participation in shaping knowledge. The student cinema as pedagogy for constructive humanistic 59 can only be a recipient of the canons that are delivered by his or her teacher. Needless to say, although learning can take place within this teaching para- digm, its potential for transformative

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–8, 126–7, 152, 186 finance 19, 220, 273 Finnissy, M. 219 Floyd, M. 125, 241, 291, 302 flow 21, 75–6, 197–8, 249, 272–3, 275, 341 fluidity 68, 91, 104, 119, 131, 162, 208, 231, 246, 290 flux 201–5 folk music 111, 112, 191, 244–5, 300–1 form 16, 73, 81, 100–2, 124, 125, 194, 195 formalist 179, 222, 224 Foucault, M. 1, 23–4, 110, 118, 126, 141, 234 Foundation Music 307–9 fractal design 206 fragmentation 5, 56, 59, 73, 125n, 256, 288, 326 frame 59, 141, 156, 278–9, 293, 321, 324, 326–7, 333 freedom 64, 76, 82, 93, 96–8, 99, 102, 125, 167–8, 200, 316, 341–2 Freire

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, 196–197, 198, 203, 204, 205, 208, 209–210, 212, 216, 245, 255, 257, 269, 299, 334, 342, 347 Freire, Paulo 161, 168, 173, 186, 198 French horn 264, 265, 267, 270–273, 305 French Revolution 39 fundamentalism xii, 18, 227 funeral march 88, 105 Gaga, Lady 243–249, 252–260 gay icon 142, 161 gay identity ix, xi, xiii, 22, 24, 33, 61, 70, 71, 95, 98, 101, 102, 104, 106, 110, 112, 113, 133, 137, 138, 139, 140, 142, 144, 150, 151, 153, 156, 161, 172, 175, 181, 182, 185, 212, 215, 217, 227, 229, 231, 236, 240, 242, 247, 253, 256, 259, 264, 267, 269, 270, 272, 273

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. Foucault, Michel/Gordon, Colin ed. (1980), Power Knowledge: Selected Interviews and Other writings 1972–77, Hemel Hempstead: Harvester Wheatsheaf. Foucault, Michel, trans Sheridan, Alan ([1963] 1973), The Birth of a Clinic, London: Penguin. Fowler, Jennifer (1985), My own ears, NMA4, Victorian Ministry for the Arts, pp. 3–6. Fox, Christopher, Brougham, Henrietta and Pace, Ian (eds) (1997), Uncommon Ground: The Music of Michael Finnissy, Aldershot: Ashgate. 362 Bibliography Freire, P. (1972), Cultural Action for Freedom, Harmondsworth: Penguin Books. Freire, P. (1998

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Jones as a writer for the script’68 and further states that she believed Jones’ representation of Protestants ‘to be clichéd, dated and stereotyped’.69 The workshop structure was inspired by Paulo Freire’s The Pedagogy of the Oppressed (1968) and the techniques of the Theatre of the Oppressed (1979) by Augusto Boal. These techniques facilitated the group work, giving 67 ‘We felt that we wouldn’t achieve anything by just throwing people together to begin with. People needed to feel comfortable discussing their issues, and what mixed mar- riage meant to them and

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(Diamond 2005 pp. 522–3). I have shown throughout this book how I have been increasingly concerned with how difference can be given dignity. As Levinas suggests, one dilemma for our society is forming a relationship with the different ‘Other’ without attempting to make the Other the same as ourselves. This is what Sacks ( J. Sacks 2000) calls ‘the dignity of difference’. The Brazilian pedagogue Paulo Freire identified how the ‘oppressed’ have to reclaim their ability to ‘name the world’ and not accept the labels put upon it by the rich and powerful: This is not

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–2, 134, 163, 226, 274 Fletcher, Holly 178 Fo, Dario 167–8 Foley, Imelda 13–14, 40, 173, 244 Foucault, Michel 35, 73–4, 225, 267, 283 Fredman, Richard: Four for Jericho 276 Freemasonry 96 Freire, Paulo 24, 34, 253 French Revolution 94, 96, 106, 167 Fricker, Karen 168–9, 288 Friel, Brian 29, 37, 86, 92, 165–6, 286; Making History 92, 165–6, 279; The Communication Cord 86; The Freedom of the City 29; Transla- tions 86, 92, 165–6, 279, 286 Galvin, Patrick vii, 19–23, 27, 30–1, 34, 43, 46, 54, 75, 82, 89–90, 96, 100, 162, 204, 207, 268, 272; Nightfall to Belfast 23

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Chapter Four Theatre Action Research: A Democracy of the Ground It invites: it belongs to all and is costless, familiar, fun and easy to alter […] paper is private; the ground is public. Paper empowers those that hold the pen; the ground empowers those who are weak, marginalised and illiterate. There is a democracy of the ground. — Chambers, 1997, p. 152 A person who rides a donkey does not know the ground is hot. — Proverb from Bawku West region of Ghana in Goyder, Davies, and Williamson, 1998, p. 31 We make the road by walking. — Horton and Freire, 1990

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investigaciones sociológicas, No. 67 (1994), pp. 165–186; Chris Lorenz, “Representations of Identity: Ethnicity, Race, Class, Gen- der and Religion. An Introduction to Conceptual History,” in: The Contested Nation. Ethnicity, Class, Religion and Gender in National Histories, ed. Stefan Berger and Chirs Lorenz (New York: Palgrave Macmillan, 2011), pp. 24–59. 3 Azurmendi, ETA de principio a fin; Javier Díaz Freire, “El cuerpo de Aitor: emoción y discurso en la creación de la comunidad nacional vasca,” Historia Social, No. 40 (2001), pp. 79–96; Pedro José Chacón

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épistémologiques et éthiques, mais elle a réussi, selon nous, un tour de force féministe et artistique encore jamais réalisé de manière aussi radicale. Si la division du travail relègue la plupart des femmes dans l’espace clos et privé de la maison, les artistes féministes décident pour leur part de se confronter à cette représentation commune au lieu de la fuir. Dans la continuité de la pédagogie et du Théâtre de l’opprimé de Paulo Freire et Augusto Boal,34 les artistes féministes du collectif de la différence conçoivent petit à petit leur partage du sensible à partir des