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Empathy in the Arts
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Empathy and Compassion in the Arts (Drawing, Writing, Stories, Poetry, Music, Dance, Fine Art, etc) - CultureOfEmpathy.com
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Edwin Rutsch
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Just inside the entrance to Pasqua Hospital, colourful panels adorn the walls; gold, silver and bronze casts of hands reach out towards the room. On Tuesday evening, those hands were stretched towards those who were there to celebrate the unveiling of the huge, 20-footlong mural.
Titled the Oneness Compassion Mosaic, it was created by 300 Regina Qu'Appelle Health Region patients, family members, volunteers, health care staff, students and members of the community over the space of almost two years.
"Their trust was incredible," said Bonnie Chapman, the artist in residence who conceptualized, facilitated and curated the project.
BY EMMA GRANEY 
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Title: Empathy
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There are some ways that creative people use their brains that make them creative. Here are five of them. There are more, but let’s stick with five today.
1. Express empathy. What does empathy have to do with creativity? Almost everything. Empathy is a cross-brain activity (using right and left sides of your brain equally) because it links the logic of figuring out what is “wrong” with the person and linking those facts to the emotional element of caring for someone in a deeper sense than their problems would allow. That ability of caring without needing to solve someone’s problem is also at the root of creativity where it shows up as experimentation without being attached to the result.
by Quinn McDonald
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Rhonda Morton is an artist-entrepreneur with a passion for making ideas manifest. She has created businesses, engineered solutions to societal problems, directed performance ensembles, published three books, and raised a son and daughter into adulthood.
Rhonda also leads Alligator Mouth Improv, a four-person ensemble that draws on theatre, movement, vocals, music and storytelling, all created in the moment, often from audience input and interaction. The ensemble works internationally to inspire audiences to imagine their lives differently—seeing opportunity and beauty and strength where they didn't before.
Alligator Mouth believes art-making and community-making are integral to each other, and that artists play a pivotal role in the commerce of ideas and the engine of innovation and inspiration.
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James Scott interviews Jamil Zaki, writer, neuroscientist, and professor of psychology, about how art informs society's empathy.
James Scott: So one of the things we talk about a lot is empathy and how it relates to the arts. You believe it’s a necessary component, and a critical building block, in becoming an artist in the first place, right?
Jamil Zaki: Human beings are not the world champions of many things. We’re not big, strong, fast, or sharp (at least tooth-wise). But we are the world champions of understanding each other. In a way, art—and especially narrative art—is the greatest expression of that ability. Narrative is a way to embody lives and worlds we have yet to experience, and in almost all cases will never experience. In a way, it’s a type of empathy boot camp: living as many lives as possible without having to leave a single room.
by James Scott
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THE 100-minute Magic Mirror the Musical (MMTM) delivered Guan Yin's message to people to be more compassionate, tolerant and patient.
She is the bodhisattva who embodies the compassion of all Buddhas
The Guan Yin Foundation staged the multi-million ringgit production at Istana Budaya recently. It made its debut in Genting Highlands in 2008. Previously directed by Yu Xiao Xue of China, this time the foundation collaborated with Malaysian musician Chow Kam Leong to produce a more creative and refined performance.
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Why is it important for American theater companies to return to producing dramas with a strong humanist message? Because we are engaged in the most serious war on empathy since the days of the robber barons. Why should this matter to theater artists? Because without empathy a culture is dead in the water and so is the art, which sustains it.
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The development of empathy in an individual from art mirrors the original derivation of the term; it is art that makes us empathic.
What about experiencing art? The concept of empathy began in 19th-century German psychology as a description of emotional and kinesthetic responses to works of art -- engagement with works of art provokes empathic response. Empathy is how we know others' minds and others' experiences. It is a redefinition and expansion of oneself through recognition of the experience of another, resonance with another's experience so immediate and complete it is experienced as one's own response.
Starting early in our lives, with children's books, then music, movies, novels, poetry, and visual art, we discover through art worlds that belong to others, and they immediately become our own.
by Brian D. Cohen
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Julianne Swartz's sound installation, Digital Empathy, greets High Line visitors with a variety of messages. At some sites, computer-generated voices speak messages of concern, support, and love, intermingled with pragmatic information. In other sites, those same digitized voices recite poetry and sing love songs to park visitors.
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There is a booming musical community in Lincoln, creating a welcoming atmosphere for musicians to cultivate new bands and new sounds with a variety of venues to share their music. With a growing musical culture in our city, how can artists keep things fresh? The band Higher Empathy Movement follows this philosophy every time they hit the stage.
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Julia Stiles believes empathy is the most valuable quality for an actor.
Julia learned to have compassion from her mom, and believes this influenced her acting career greatly.
“I learned by example from my mother about how to treat people. She’s got an endless amount of compassion and empathy,” she told Psychologies magazine.
“As an actor you have to be empathetic in order to understand, no matter what type of character you play.”
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“We look around us and realise that something needs to be done, yet find no immediate solutions…We must look at our community with compassion, estimate its strengths as well as its weaknesses, and assess its potential for change.” – Karen Armstrong
In a city that has just made it to the cover of Time Magazine as one of the most violent cities in the world, Students at Karachi University visual arts department take a challenge to design a compassionate city campaign for Karachi.
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Kwan Yin is the much loved Goddess of Mercy and Compassion and a very popular feng shui cure. She is usually depicted as an older lady with a very warm, soft, motherly energy. At least, according to many sources, Kwan Yin has been portrayed like this in China since this Goddess energy has been assimilated into Chinese culture from India.
However, if you listen to her story, another Kwan Yin emerges - a powerful female Buddha with a fiercely loving energy for all humankind. We call Kwan Yin the Goddess of Compassion, but compassion is not a very accurate word for her enormous energy. It is a very weak translation of the Buddhist term karuna.
By Rodika Tchi
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"Rhonda also leads Alligator Mouth Improv, a four-person ensemble that draws on theatre, movement, vocals, music and storytelling, all created in the moment, often from audience input and interaction. The ensemble works internationally to inspire audiences to imagine their lives differently—seeing opportunity and beauty and strength where they didn't before. Alligator Mouth believes art-making and community-making are integral to each other, and that artists play a pivotal role in the commerce of ideas and the engine of innovation and inspiration."
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Spectators of dance experience kinesthetic empathy when, even while sitting still, they feel they are participating in the movements they observe, and experience related feelings and ideas. As dance scholar Ann Daly has argued: ‘Dance, although it has a visual component, is fundamentally a kinesthetic art whose apperception is grounded not just in the eye but in the entire body'
Spectators can ‘internally simulate’ movement sensations of ‘speed, effort, and changing body configuration’.
An important source for the concept of kinesthetic empathy is Theodor Lipps’ theory of ‘Einfühlung’. Lipps (1851-1914) argued that when observing a body in motion, such as an acrobat, spectators could experience an ‘inner mimesis’, where they felt as if they were enacting the actions they were observing.
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Examining one’s moral values and talking about social codes is a thorny path to pursue as an educator. Enter art, the great means of forming empathy and simultaneously questioning our individual moral codes. Some of the greatest art causes you to examine your own inner limits of where your feeling urges you to act and why you do or don’t follow through on that urge. Picasso’s Guernica depicts the horrors of war, but does it turn the viewers into peace activists? ...
Brooks suggests that feeling empathy is not enough; that for empathy to be connected to positive social action, it must be connected to moral codes. As Brooks points out, peoples’ codes often conflict. by Miranda Loud
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Through Art Alone are we able to emerge from ourselves to know what another person sees of the universe which is the same as our own...
An unraveling of the relationship between empathy, space, risk, metaphors, listening, language, trust, honesty, integrity, dignity, humility, and courage...
A Thesis be Seung Shan Lim
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Suddenly, books and on-line discussions about empathy are popping up like spring flowers. Since performance animation is all about establishing a sense of empathy with the audience, Ed Hooks weighs in.
Empathy is receiving a lot of academic attention lately. There are 131 books on Amazon.com that have the word “empathy” in the title. My friend Craig Brookes recently directed me to Culture of Empathy, a website that is dedicated exclusively to discussions about empathy and compassion: http://cultureofempathy.com
The subject is being approached from every possible perspective - psychological, social, political, artistic and neurological. New York Times columnist David Brooks often writes about empathy, most recently in his September 30th column.
Performance animation is all about empathy, and we discuss it extensively in every class I teach.
By Ed Hooks
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An understanding of the distinction between empathy and sympathy is intrinsic and essential to my personal approach to acting and acting training. An actor's job is to create in the audience a sense of empathy with the character she is portraying. Yes, of course there are times when an audience will feel sympathy, but if sympathy is what they feel at the final curtain, they're not going to be satisfied.
Theatre, at its root, is a shamanistic activity, similar in purpose to organized religions. Both theatre and religion aim to help the tribe stay together through hard times and good, so that its members will survive into the next generation. We humans are bound together by our effort to survive, and it has been that way throughout history.
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I watch films and read books to be one with the characters and partake of their joys and sorrows. Having empathy for fictional people, I believe, helps foster empathy and understanding for real people.
Empathic people aren’t bullies because they can feel the pain of others as their own pain. It is a mental habit I believe we should try to foster in children, rather than discourage.
After all, it is only through increasing the empathy of human beings will we ever stop violent conflict and cruelty to those we deem “different” from us.
by Marta
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Universal Love ...
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Brett Dennen concert for Mosaic Project donors in Oakland CA. July 16, 2009. This is Brett talking about what the Mosaic Project means to him followed by his playing The Empathy Song,
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