powerpoint community art luzern 2016
TRANSCRIPT
PROGRAM 9.15 – 9.30 introduction to the program 9.30 – 10.00 presentation of your objects 10.00 – 10.45 about ART and COMMUNITY Art
10.45 – 11.00 BREAK
11.00 – 11.30 some examples of Community Art11.30 – 12.15 methods of community art + assignment
12.15 – 13.00 BREAK 13.00 - 13.15 short film: Guerilla Gardening in New York13.15 – 14.15 discussion14.15 – 14.45 presentations of the assignments and
discussion14.45 evaluation
BRINGING PEOPLE TOGETHER THROUGH THE ARTS
Living in The Hague
Work: Faculty of Social Work and
Education: Social Cultural Work
Teacher in Art: Community Art,
Cultural interventions, Cultural
Participation and – Education
Social- Cultural Worker, Educator and
supervisor, Master Sociology of Arts,
member of a researchgroup
Playing, singing, knitting & embroidery
HOW DO YOU LABEL YOUR OBJECT?
WHY ARTS?
Article 27 of the Universal Declaration of Human Rights:
Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancements and its benefits
ART IS WHAT CERTAIN PEOPLE AT CERTAIN TIMES IN CERTAIN PLACES SAY THAT ART IS BEVERS (2012)
ARTS AND CULTURE
Culture is a framework of behavioral patterns, values, assumptions and experiences shared by a social group.
Art is a reflection of culture.
Arts and culture bring meaning to life
SOCIAL ASPECTS OF ARTS AND CULTURE
Art Is an universal language.Enables people to express themselves in many ways.Enables people to express their individual feelings and ideas in relation to their culture.
IMPORTANCE OF ART IN EDUCATIONAL AND PEDAGOGICAL CIRCUMSTANCES Art enhances the awareness as well the
understanding of other cultures and enables to better understand and communicate.
Art makes (new) connections between people, stimulates coöperation, social cohesion. Learn to appreciate the diversity amongst others…
Everybody has (more or less) artistic, creative qualities.
DEVELOPMENTS IN THE ART WORLD:
Primitive art Religious art in Medieval times + Art for the Kings Renaissance: the start of the Art Market with bourgeois
commissionairs Late 19th century: WHAT is ART
SECOND HALF OF THE 20TH CENTURY,
Kaprow; Life like art and art like art / Happenings (60ties)
Joseph Beuys (70ties)
Bourriaud: Relational Aesthetics (80ties)
A growing group of artist moves from ‘The White Cube’ to the heart of society
Community art in the heart of
society
JEANNE VAN HEESWIJK
Freehouse
Art starts from another perspective to the world: The artist as Change Agent
BREAK
Art starts from another perspective to the world: The artist as Change Agent
INSIDE OUT BY JR
inside out
inside out
COMMUNITY ART
All kinds of Art Practices in which communities and artists are involved,that express the thoughts, beliefs and emotions of these communities.
is made in interaction or dialogue with the community knows a balance between process and product a professional artist is involved (artist-in-residence) makes visible the invisible
Art made by and with people who otherwise have very little to do with art, in settings with almost no artistic or cultural infrastructure.
Discourse about high – low art
PORTRAITS OF RECONCILIATION BY PIETER HUGO
article about the project
WORD WIDE FROCK BY SIMONE MARIA TEN BOSCH
FIGHTING THE SILENCE BY IF PRODUCTIONS
Trailer and website
BEFORE I DIE BY CANDY CHANG
Interview with Simone
Before I die in Denmark Ted Talk by Candy Chang
MAMMA IS COMING SOON BY CHARLOTTE MARRES
film face 2 face (short version)
FACE 2 FACE BY JR PHOTOGRAPHER
The inside out project
NEW STYLE SOCIAL WORK
1. Demand-oriented methods2. Pro-active approach towards citizens3. Focus on citizens’ personal strengths4. Collective versus individual facilities5. Informal care versus formal care6. Comprehensive approach by professional
organizations7. Result-oriented8. Space and time for the professional
The power of connecting.Ministry of Health, Welfare and Sport (2010)
COMMUNITY ART: ARTISTS AND SOCIAL WORKERS
Community Art in social artistic projects focusses on social cohesion, inclusion, empowerment and participation
By getting people participated in society and take control of their own situation
“Community Arts helps them build the skills, confidence and knowledge to become autonomous and self-determent actors in their own stories” - Matarasso (2006) Art in my neighbourhood
SYNERGY THE ARTIST + SOCIALWORKER = 3
Citizens are supported in their social emancipation
by social and artistic professionals from their own
discipline but both working on the same goals.
Art is not the (only) aim, but helps to realize the
‘answer’ on the ‘question’.
Artist and Community Worker need to speak the
same ‘Language’ to come to succesfull projects.
STARTING POINT
What is question of the Community or targetgroup
Aims: what, why, when, where
Who is my targetgroup
(Reaching ‘new’ people in contact with art, or making visible the indentity of a neighborhood)
THE CREATIVE COMMUNITY BUILDERS HANDBOOK
Asset Based Community Development: Starts from strength Cross Boundary, re-invent and work
together
How to Transform Communities Using Local Assets, Arts, and Culture
“Efforts to weave multiple endeavors and professions into the never-ending work of building and rebuilding the social, civic, physical, economic, and spiritual fabrics of communities” (Borrup, 2006:xv).
CREATIVE COMMUNITY BUILDERS
Make new connections Make visible what was invisible Work from diversity
Within and together with a community
FIVE STEPS
1. Assess Your situation and Goals
2. Identifiy and Recruit Effective Partners
3. Map Values, Strenghts, Assets, and
History
4. Focus on Your Key Asset, Vision,
Identity, and Core Strategies
5. Craft a Plan That Brings the Identity tot
Life
PROCESSES
Communication: artist artwork public
Participation: artist artwork public
Mobilisation: artist public ...
Boiten, 2001:43
TWO PERSPECTIVES AND 2 X 5 STRATEGIES
ECONOMIC① Create jobs② Stimulate trade through
cultural Tourism③ Attract Investment by
Creating Live/Work Zones for Artists
④ Diversify the Local Economy
⑤ Improve property and Enhance Value
SOCIAL① Promote Interaction in
Public Space② Increase Civic
Participation through Cultural Celebrations
③ Engage Youth④ Promote Stewardship
of Place⑤ Broaden Participation
in the Civic Agenda
SOCIAL PERSPECTIVE
Methodical steps
creative community toolboxAnimating Democracy Project
Community Development (Samenlevingsopbouw)
Small (cultural) organizations can use art and culture to stimulate community building
Adriaan Nette, Simone Maria ten Bosch
ECONOMIC PERSPECTIVE
Sabrina Lindemann: Hotel Transvaal. Haas en Haen: Challenge the obvious
Recognizes the value of creative economy but operates from the community identity and to strengthen connections in that community.
Florida : the creative class strengthens a city - culture as city marketing
Putnam: the well-being of a city is rooted in the interaction of citizens around common interests (social capital: bonding and bridging)
Markusen: connection between a vibrant art scene and innovative industry
CREATIVE CITY Creative City idea: encourage open-mindedness and imagination –
everybody is creative Focus: how arts and cultural concerns could be better integrated
into the planning process for city development (Charles Landry)
Challenge the obvious
WHAT DID YOU RECOGNIZE IN THE SHORT FILMECONOMIC① Create jobs② Stimulate trade through
cultural Tourism③ Attract Investment by
Creating Live/Work Zones for Artists
④ Diversify the Local Economy
⑤ Improve property and Enhance Value
SOCIAL① Promote Interaction in
Public Space② Increase Civic
Participation through Cultural Celebrations
③ Engage Youth④ Promote Stewardship
of Place⑤ Broaden Participation
in the Civic Agenda
HOW CULTURE AND THE ARTS IMPACT COMMUNITIES, SOME RESEARCH RESULTS
PARTICIPATION IN THE ARTS CAN:
have a positive impact on how people feel, can be an effective means of health education, provide a unique and deep source of enjoyment (Matarasso 1997, Use or Ornament)
have positive changes in self-motivation, self-respect, responsibility and the ability to take initiative (Gardiner, 2000)
Give an economic impulse to a neigborhood (Brouwer, 2012, Trienekens, 2012)
HOW CAN ART BE OF VALUE IN COMMUNITIES?
CULTURAL INTERVENTIONS IN DISADVANTAGED NEIGHBORHOODS
Planning is more than physical and socio-economic, the cultural deserves attention.
City Makers should be less planners and more searchers.
Make culture part of city planning
Working with a context instead of working in a context
MORE CONCLUSIONS:
economic growth that makes the district stronger > social inclusion and well being
Culture is experienced as an added value
Quality of life by activity. Small scale projects. Joining of forces. Internal image deviates from external
image. Feeling at home: active participation>
more contacts> feeling more safe
CONDITIONS
Take plenty of time for place making
Multidisciplinary teams work better
Drivers are needed Artists must be treated as equal
partners
BEWARE OF GENTRIFICATION
The process of renewal and rebuilding a disadvantaged neighborhood and invite middle-class people to live there, with the effect that often poorer residents are displaced.
BREAK
City gardening
ASSIGNMENT IN SMALL GROUPS
We use the four interviews as a casus
which assets do you recognize in the casus?
what is the role of the social worker in your casus?
what struck you? Is this ART or COMMUNITY Art or: what’s
it all about?
Working together to explore and discuss the questions above (30 minutes).
Short presentations (5 minutes) and discussion.
YOUR OWN PROJECT….
What about using art in your own projects?
LEARN MORE?
• Balancing act 21 strategic dilemma’s in cultural Policy by Matarasso and Landry
• Craftivsm by Betsy Greer
• Four interviews with artist who work with active participation of the public by Mieke Klaver
• Social Design for Wicked Problems by the New Institute
• The social turn and its discontents by Claire Bishop
• Use or Ornament by Francois Matarasso
EVALUATION