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’s waistcoat, in the first act, makes us think immediately of Ruskin. The brown that she puts on him in the last act is a kind of support, amongst the other colours: it is a seduction scene that brings together on the one hand the well-bred lyricism of the dandy, with the beige and blue worn by Napoleão Moniz Freire, and Olga Navarro’s green gloves, which destroy the severe discretion of the other colours, topped by a hat that covers part of the actress’s face – the whole establishing and destroying the appearance of repentant sinner of Mrs Warren. These gloves contrast with

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Todor Company 111 , 29 Companhia Eva Todor 130 Experimental Theatre Group 82 Grupo Teatral Experimental 70   Femsa Young Theatre Prize 149 Prêmio Femsa de Teatro Jovem 149 Ferreira, Bibi 37 , 51 , 63 Fielding, Henry 165 Filho, Arthur Costa 107 - 30 Filho, Júlio de Mesquita xxi Fioratti, Gustavo 60 Folha da Manhã 10 , 23 , 83 , 174 - 75 Folha da Tarde xxii Folha de São Paulo 30 , 55 , 89 , 203 Francis, Paulo 123 - 176 - 195 Franco, Baptista 84 Freire, Napoleão Moniz 142 , 86 , 94 , 200 The Fusion 205   Garcia, Clóvis 43 , 84

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chapter9 ← 180 | 181 → Concientización, Praxis and the Radical Habitus: Youth and the Re/Formation of Popular Contestations on the U.S.–Mexico Border L EAH S. S TAUBER Introduction Scholars and practitioners have long highlighted the potential of liberatory education for the re-investment of marginalized individuals in their own education and civic capacity (Freire, 1970, 1974). In recent decades, liberatory education projects have been introduced into a number of youth educational settings in the U.S. and have in these locales catalyzed cohorts of

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the ethical dimension, that we saw in Chapter One, surfaces – the relationship that we might be able to develop with other cultures, both historical and geographical. By paying attention to this domain, we are including the notion of the musician as psychagogue, who prepares people to develop their own sense of The Right. Drama has traditionally had a greater sense of the capacity of the arts to develop the human conscience. The supporters of this view often draw on Paulo Freire, who constantly stressed the fluid and unfinished nature of human consciousness: ‘It is

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people from the youth club were blamed for anti-social behaviour throughout the estate whilst the women who ran the crèche were apparently responsible for all sorts of acts of sabotage. I found myself, much like at times working within the children’s homes, ← 167 | 168 → stuck in the middle of power battles and acts of deviation to win me over. To them the ownership and influence over the community centre represented power and control with both sides fighting for a bigger slice of the pie; As Freire reminds us: It is rare a peasant who, once promoted to overseer

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young person to counter negative definitions and the power of media to criminalise and demonise alongside the struggles and obstructions that front-line workers experience through depoliticised procedures. ← 260 | 261 → Zone/s 3: Fissures/Games Rooms The role of theatre as a democratic medium – in which the audiences play an active role in medium programming, and therefore in producing and distributing messages… Participation in Freire’s terms means total involvement even at the level of conceptualising the vehicle of articulation. 10 Not all of the messages

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, freer existence, sung by gay icon Judy Garland) were surprising hits. This allowed for the beginnings of shared dialogue in which ideas and values in other areas could be reflected on, questioned and re-evaluated in relation to the young people’s experiences, enabling a climate in which critical thinking and Freire’s critical consciousness (1970) might begin to develop. This group included young people with a wide range of additional needs, including those using Child and Adolescent Mental Health Services (CAMHS), Looked After Child (LAC) status, and several with

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, Thatcher’s Children? Politics, Childhood and Society in the 1980s and 1990s (London: Falmer Press, 1996), pp. 94–113. Freire, P., The Politics of Education: Culture, Power and Liberation . Macedo, D., trans (Westport USA: Greenwood Publishing Group, 1985). Freire, P., Pedagogy of the Oppressed . Bergman, M., trans (London: Penguin Books, 1996). Geertz, C., The Interpretation of Cultures (New York, NY: Basic Books, 1973). Giroux, H., and Shannon, P., eds, Education and Cultural Studies, Towards a Performative Practice (New York, NY and London: Routledge, 1997

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, A. (2016). Exoneree diaries: The fight for innocence, independence, and identity . Chicago, IL: Haymarket Books. Foucault, M. 1995. Discipline and punish: The birth of the prison . New York, NY: Vintage Books. Freire, P. (1998). Pedagogy of freedom: Ethics, democracy, and civic courage . Lanham, MD: Rowman & Littlefield Publishers. Freire, P. (2004). Pedagogy of hope: Reliving Pedagogy of the oppressed . London, UK: Continuum. Garfield, G. (2010). Through our eyes: African American men’s experiences of race, gender, and violence . New Brunswick, NJ: Rutgers

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Sabino Arana Goiri (1883–1888).” Letras de Deusto , Vol. 42, No. 134, 2012, pp. 155 – 182. De Pablo, Santiago and Mees, Ludger. El péndulo patriótico. Historia del Partido Nacionalista Vasco (1895–2005) . Barcelona: Crítica, 2005. Díaz Freire, Javier. “El cuerpo de Aitor: emoción y discurso en la creación de la comunidad nacional vasca.” Historia Social , No. 40, 2001, pp. 79 – 96. ← 68 | 69 → Fernández Soldevilla, Gaizka. Héroes, heterodoxos, traidores: historia de Euskadiko Ezkerra (1974–1994) . Madrid: Tecnos, 2013. Gallego, Ferran. El mito de la Transición. La