COLLECTIVE MEMORY STUDY PLAN - DRAFT 01

FERNEY MANRIQUE ARAGON PROFESSOR MELINDA ASHLEY MEYER DEMOTT

OBJECTIVES

Use the expressive arts theory to encourage production of original artistic mix media pieces and to develop creative skills, process methodology, time management skills and risk-taking attitude.

Share personal stories and experiences in a conceptually solid and visually poignant; as in moving, emotional and touching way as a response to a given subject.

Produce an interactive art installation.

Strengthen group cohesion.

ESTIMATED TIME

Seven Months

GROUP CHARACTERISTICS

Chinese (Han) Graphic design students age 18-24 years old.

English is their second language, hence it’s limited.

Wenzhou City - Zhejiang Province.

CONCEPTUAL FRAMEWORK

Conceptual.Storytelling.Memory.CommunityHistory.Identity.

TechnicalPhotography.Journaling.Sketchbooks.Audio VisualMobile Devices.Online Communities.Social Networks.

INTERMODALITIES

Music.

Painting - Drawing.

Writing - Calligraphy - Typography (Chinese - English).

Movement - possibly Tai Chi -

Paper / Mix Media Sculpture.

Collage.

THE IDEA - IN A NUTSHELL

1. Objective. Use the Expressive Arts method and theory to produce a community art visual object that explores the themes of storytelling and common narratives related to personal stories using portraits, family photography and similar.

I am thinking of running weekly community art session, demonstrate new art skills, show visual references and share individual artwork to each other, deconstruct, co-create and re-create artworks.

THE IDEA - IN A NUTSHELL

I would like to start working first on mobile devices, hence students can document their work as journals. (Using intermodality gives me the chance to explore various media, formats, and techniques such as colour, colour theory, typography, calligraphy etc.)

Why mobile photography? Chinese students are very much into technology, mobile devices are highly popular in China, that would be a first approach for them to start seeing objects with different eyes. Once they are familiar and comfortable I would introduce family portrait, possibly starting with my own set of pictures from my childhood.

Students could reflect from my own experiences and resonate their own in both conceptual and aesthetic ways. By doing this I’ll be another member of the group, hence break tight academic hierarchical structures.

THE IDEA - IN A NUTSHELL

Once there is a safe space around I hope we can start sharing personal stories, it would be interesting to find the connection between these common stories and create nodes where images and text can be shared. (This could be towards the end and presented as an interactive installation)

It could be also good to see some interaction between students and see what else they can add to the whole process.

I suppose releasing an image could be the first step for them to start sharing more images to accompany the narrative.

THE IDEA - IN A NUTSHELLStudent’s observations and class notes should be registered on sketchbooks and scrapbooks. The production of these sketchbooks can also be the first step toward the production of audio-visual material (?)in the interest of presenting stories. These can be audio-video - animation ( flip-books - claymation - paper-cuts - Chinese shadow puppets -) storyboards - animatics (animated storyboards)

There is a social network part that can be implemented which involves sharing and co-creating stories throughout local networks (wechat - weibo). Also, digital art interventions in which students retouch each other’s works.

Concurrently, I will keep a journal with observations related to this research. Personal art base research and visual scrutiny is needed.

EXPECTED PROBLEMS

EXPECTED PROBLEMS

Art production in China is always an issue. -Especially under the new PM.

The sort of stories that may emerge could bring up sensitive topics such as the cultural revolution, Tiananmen Sq. Repression, Falung Gong or personal stories photography may trigger.

Social networks are also a problem, it all will be down to self-censorship.

Liability. Technically, I would be liable (so my university will) for any sort of content produced in class. In this point I also want to refer to writing and poetry, due to language barriers it should be done in their mother tongue, however, I must ensure whatever is written and shared does not break Chinese regulations.

EXPECTED PROBLEMS

Sensitising exercises, as mentioned above, physical contact is a NO. Considering I am in a non-western academic environment I rather stay away from it.

Hierarchical structures are very strict in China. As a facilitator I must create a safe frame, tight social structures may hinder facilitator - student relations.

REFERENCES

REFERENCESIn China, Myths of social cohesionhttps://www.nytimes.com/2014/08/19/world/asia/in-china-myths-of-social-cohesion.html

The art of manchurian identityhttp://www.dbdaishu.com/home/index.php/en/articles/157-the-art-of-the-manchurian-identity-1933-1945

Lest we forget -UAE- http://lwf.ae/en/About/Team/

With Cameras as a Bridge, Young Colombian Refugees Tell Their Stories

Draw your stories and share themhttps://thebigpictureartproject.com/

Photography - A social Practice.http://www.asocialpractice.com/

BIBLIOGRAPHY (few)camera lucida - Barthes Rolandphotography and fetish - Christian Metz.Art Based Research - McNillFamily Album - Colombia - Silva

VIDEO REFERENCESCHINESE SHADOW PLAYEXPERIMENTAL FILM

MOODBOARD

THANK YOU