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1. At the end of Chapter 8, the struggle between organizational responsibility and rapport with participants is mentioned as a roadblock in the collaborative artistic process. How could a conflict like this be overcome? How do the “rules about art” that one learns in school get in the way of community arts-based research or education?
2. In chapter 9, Kim Villagante talked about the intersection of being an artist, as well as an anti-oppression facilitator of adult education. She mentioned several identities throughout the chapter and the underlying tensions that it can cause.
Which intersectionalities do you belong to, and how have they impacted your growth as a professional? How do you reconcile the underlying tensions so as to maximize the impact of the learning experience?
3. Smartphones have democratized photographic and artistic storytelling. Could this factor into the self-empowerment ideas presented in Chapter 9? Look back through your phone’s camera/media app and identify a few examples that illustrate personal empowerment and describe the situation.
4. In chapter 10, Butterwick and Carrillo discuss the “femininization of survival” in late capitalist globalism that exploits women as cheap labor. The authors state that this has led to exclusion, terrible working conditions, and low quality of life. This has led to the rise of transnational activism which links local issues with international activities. In this increasingly globalized world, how can transnational activism help to join others connected to a cause that might occupy marginalized spaces