presentation community art aarhus def
TRANSCRIPT
ART IN THE AFTERMATH OF DISASTERS AS A CHALLENGE FOR SOCIAL WORKERS
PROGRAM 12.25 – 12.35 introduction to the
program12.35 – 13.00 presentation of your
objects13.00 – 14.00 about ART and
COMMUNITY Art
14.00 – 14.10 BREAK
14.10 – 14.50 methods14.50 – 15.00 assignment Friday
MIEKE KLAVER AND CAROLIEN VAN DER DONK Living in The Hague, Holland
Working at the Hague University of applied Siences, Faculty
of Social Work and Education
Teachers in Art: Community Art, Cultural interventions,
Cultural Participation and – Education
Mieke [email protected]
Carolien van der Donk [email protected]
ORGANIZING THE CIRCUS IN MY NEIGHBORHOOD
Link to FaceBook
DE ELECTRICITEITSFABRIEK THE HAGUE
De Electriciteitsfabriek
HOW DO YOU LABEL YOUR OBJECT?
CARRIED BY THE WIND BY MERLIJN TWAALFHOVEN
carried by the wind
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
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 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
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
THE NAMES PROJECT AIDS MEMORIAL QUILT
The names project
BREAK
Art starts from another perspective to the world: The artist as Change Agent
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
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 taking 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 the consequence of the disaster for the targetgroup?
Who is my targetgroup?
Aims: what, why, when, where
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
Film Challenge the obvious, short version
CHALLENGE THE OBVIOUS BY HAAS AND HAEN
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 DISASTERS?
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
DESIGNING TRUST IN YOUR OWN UNIVERSITY
From a personal point of view a school is a place in which we serve private interests. We labour in order to be able to learn, meet, relax, eat, etc. There is a public atmosphere, with different actors, with different needs.
What aspects play a role in designing trust to build a stronger and more social community at your University?
We invite you to think about this subject and will work with it tomorrow on three levels:
• Personal
• Institutional
• Society
SEE YOU TOMORROW