An artist in the global community is a lucky individual. The artist creates, inspires, and opens fora for free conversation. But the artist is not cherished in international agendas. The policy makers for these agendas see arts on a micro level, and perhaps this is because we as artists have not asked for a place at the table. In the field of human rights education, we have a power to shape the form. This involves a few steps artists are not often used to. We need to network on a common ground with a common framework, we should understand policy and then present ourselves as an ensemble of creators, and we must trust talents enough to place the emphasis on process rather than product. By linking the work being done in applied theatre with higher education and human rights in the field, and by using the Universal Declaration of Human Rights as a frame, we can begin engage arts and human rights education on a greater level.
|Keywords:||Applied Theatre, Child Rights, International Projects, Human Rights Education, Community-based Work, Higher Education|
Teaching Artist, New York University, New York, NY, USA
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