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Zróżnicowane i niedookreślone funkcje animatorów społeczno-kulturalnych

100%
Łobaza K.
Academic Journal of Modern Philology
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2018
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vol. 7
195-202
EN
The field of cultural management is gaining more and more attention in academic discourse, but as a field of research it still remains mostly unexplored. It can be located somewhere between pedagogy, cultural studies and culture an-thropology. It is based on the process of animation which is distinguished by complex cultural and social contexts. The essence of animation has its source domain in France. It has been triggered by social rebellions and it stems from the idea of emancipation. People have wished to change their cultural embeddings and wanted to overcome their cultural barriers. Therefore, the notion of emancipation is a very important issue while discussing the beginnings of the cultural animation. Nowadays it is quite problematic to determine the scope and range of social animation. The whole process of animation touches almost every aspect of life. Animators of culture serve many important social functions, but apparently there is no agreement on the exact extent of their responsibilities. This short paper attempts to present the essential aspects of theory and practice concerning the notion of social animation and espe-cially the functions of the animators of culture.
2
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Jak projektować etnoanimacyjne badania w działaniu. Dobra praktyka i suwak animacyjny

75%
Dobiasz-Krysiak M., Dobiasz-Krysiak M.
Studia Etnologiczne i Antropologiczne
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2016
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vol. 16
160-171
EN
Ethnoanimation connects ethnographic research and culture animation. This method has been developed for ten years by Tomasz Rakowski, The Field Collective and author of the text. The last project where the method was tested was the laboratory known as the “Local dimensions of cultural participation. Ethnographic action research”, Warsaw University within a larger framework of a Ministry of Culture grant “Creating bottom-up culture”. In this project students and The Field Collective created an ethnoanimation project in the villages of Zaława and Cukrówka in Poland. They reflected upon them by putting them on an “animation zip” diagram according to the level of cohesion between animation and ethnography in their projects. The “animation zip” as an useful tool that may be interpreted inthe context of “best practices” of culture animation defined by National Culture Centre to define typical features of ethnoanimation practices. In this text the author tries to answer the question–what makes an ethnoanimation project most effective.
3
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Twórczość w polu działalności animatora kultury

63%
Zadłużny M.
Dyskursy Młodych Andragogów / Adult Education Discourses
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2014
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vol. 15
213-226
EN
The text has got a form of explanation and review. Its purpose is to explain and sort out notions which are attributable to animation of culture and its relation to creativity. In the first part of the text the theoretical background has been presented. The review of contemporary conceptions of creativity from the area of pedagogy and psychology has been done. In the further part the author has reviewed the conceptions and recognized the notions related to creative attitude of a human. Regarding the presented assumptions, the animation of culture has been presented as a process which facilitates the development of creative attitude and potential resources which human being has at his/her disposal or is able to have. The author points out that this conception is built on the foundations of Western humanism and postmodernism and the vision of our social life they propose. The author believes that the animators should be close to the wide understanding of creativity as every kind of activity which transcends simple scheme. In the text the animation of culture is presented as the process that is focused on supporting human being in striving for the complete self-realization which Abraham Maslow wrote about. The animator, from the author’s point of view, acts as the facilitator of creative processes. He is a catalyst of the creative attitude which is widely interpreted and helps to build self-consciousness of a human. Creativity has been presented as a significant conceptual category defining animation activities. In the text the idea has been presented that each animation of culture implicates emanation of creative potential of human being, which corresponds with humanistic theories of creativity of A. Maslow, C. Rogers and E. Fromm.
4
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Fotografia: inspirować i edukować. Wybrane działania Fundacji dla Filmu i Fotografii

63%
Budzik J. H.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2019
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vol. 105
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issue 2
145-160
EN
The author of this article offers an analysis of and a self-reflection on selected actions that accompanied photo exhibitions co-organised by the Foundation for Film and Photography. As their co-author as well as a researcher, she presents the sources, assumptions and goals of the discussed projects, placing them in the context of research on contemporary animation of culture and education in photography.
5
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Technologie i opowiadanie o przeszłości a wyzwania animacji kultury

62%
Zętar J., Kowalski Ł.
Polonistyka. Innowacje
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2020
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issue 12
221-232
EN
On March 12, 2020, the crisis staff with the Minister of Culture and National Heritage introduced a lockdown in Poland. For most cultural institutions, it was the beginning of activity in completely different conditions and a necessity to redefine the activities. For nearly three months, cultural institutions deprived of the possibility of normal stationary work. They had to face the challenge of operating on-line. It quickly turned out that retransmissions of events, recalling archival recordings and virtual walks are not solutions that can keep the audience’s attention for a long time. The aim of the text is to examine the conditions and methods in which culture, and education, can and should be realized today. The article presents an example of activities carried out in Lublin by the “Grodzka Gate - NN Theater” Center, which since the late 1990s uses the Internet and new technologies in history and local cultural heritage. The authors of the article look for answers to the questions how cultural institutions are prepared to operate with the use of new technologies and how they implement the goals of humanities education.
PL
12 marca 2020 roku sztab kryzysowy z udziałem ministra kultury i dziedzictwa narodowego wprowadził w Polsce lockdown. Dla większości instytucji był to początek aktywności w zupełnie innych warunkach i przymus redefinicji dotychczasowych działań. Przez blisko trzy miesiące instytucje kultury pozbawione możliwości normalnej, stacjonarnej pracy musiały się zmierzyć z wyzwaniem funkcjonowania on-line. Szybko okazało się, że retransmisje wydarzeń, przypominanie archiwalnych nagrań ze spotkań autorskich i wirtualne spacery nie są rozwiązaniem, które na długo jest w stanie utrzymać uwagę publiczności. W celem tekstu jest przyjrzenie się warunkom i metodom, w jakich kultura, a zarazem edukacja może i powinna być dziś realizowana. Na tle prowadzonych przez polskie instytucje kultury działań animacyjnych i edukowania w nowej formie przedstawiony został przykład działań prowadzonych w Lublinie, przez Ośrodek „Brama Grodzka – Teatr NN”, który od końca lat 90. wykorzystuje w swoich działaniach Internet i nowe technologie do przekazywania wiedzy o historii i lokalnym dziedzictwie kulturowym. Autorzy w artykule szukają odpowiedzi na pytania czy instytucje kultury są przygotowane do działań z użyciem nowych technologii oraz jak realizują cele edukacji humanistycznej.
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