You have to judge on the spot: Just-in-time community art education

2016 ◽  
Vol 14 (1) ◽  
pp. 56-68 ◽  
Author(s):  
Anita Sinner ◽  
Jennifer Wicks ◽  
Petra Zantingh
Author(s):  
Carolina Eve Blatt-Gross

Given our deep history of socially-situated artmaking and the human propensity for learning in social contexts, participation in community art offers a wealth of educational potential. Supported by research from neuroscience, anthropology, psychology, education and the arts, as well as concrete examples from higher education, this chapter will outline the theoretical basis for a curriculum rich in community art and establish such practices as a potential antidote to student apathy in contemporary classrooms. This body of interdisciplinary research situates community-based art education at the intersection of transformative community art, social learning theory, and student engagement. By first generating a community of practice within the classroom, then providing students with an opportunity to apply course content, contribute to their immediate culture, and take advantage of some of our most entrenched educational tendencies, community-based art education can be invaluable to student learning and engagement.


2018 ◽  
Vol 37 (3) ◽  
pp. 283-296
Author(s):  
Dustin Garnet ◽  
Anita Sinner ◽  
Cindy Walker ◽  
Ranya Esmat ◽  
Seonjeong Yi

Author(s):  
Helene Illeris

Through a process-oriented analysis of the participatory art project The Hill this article explores the relevance of participatory art projects for the development of AESD – Art Education for Sustainable Development. Inspired by Felix Guattari’s Three Ecologies (2008) the analysis moves through three sub-studies delving into three different aspects of the project. Each sub-study adopts two overlapping analytical ‘lenses’: The lens of a contemporary art form (performance art, community art, and site-specific art) and the lens of a related theoretical concept (subjectivation, togetherness, environment). The aim is to propose art educational ideas and strategies that stimulate students to challenge the current political, economic and environmental situation. Central questions addressed by the article are: How can educators use contemporary artistic strategies to challenge essentialist and opportunistic self-understandings? What is the potential for participatory art forms to explore alternative and more sustainable conceptions of human subjectivity? How can art education work in favour of a sense of interconnectedness between the individual, the social and the environmental dimensions of being? In conclusion, the article proposes art education as a symbolic place for carrying out art-inspired experiments with how to live our lives in more sustainable ways.


Author(s):  
Nuria Rey ◽  
Laura Delgado ◽  
Jorge Fernández Cedena ◽  
Silvia Sainz

Resumen: La Educación Artística, como herramienta para la integración social, puede funcionar como canal mediador en diferentes contextos para fomentar el pensamiento crítico y localizar lugares de encuentro e intercambio de perspectivas. En España se han desarrollado varios proyectos en los que esta disciplina se ha incluido en los programas educativos de prisiones para contribuir a la reinserción y el enriquecimiento cultural de los internos. En el presente artículo se expone la experiencia del taller de arte en el Centro Penitenciario Madrid IV, prisión ubicada en Navalcarnero, dentro de la Comunidad de Madrid. Esta iniciativa es coordinada por la asociación Solidarios para el Desarrollo, que trabaja dentro de la acción social y comunitaria con el objetivo de crear espacios que propicien el acercamiento socio-cultural. Se abordan en primer lugar los antecedentes existentes, para después profundizar en la actividad desde la primera toma de contacto en la intervención didáctica hasta la materialización y valoración de la actividad, dividendo la experiencia en dos bloques que explican tanto la acción desde la parte social como desde la parte artística. Los resultados que derivarán en conclusiones se obtienen a partir de las fichas de seguimiento de objetivos, así como de la extracción de categorías recogidas en la sesión de evaluación. Así, esta experiencia puede convertirse en un referente para las prácticas artísticas en contextos de privación de libertad como herramienta de mediación y reflexión comunitaria. Palabras clave: arte comunitario, centro penitenciario, educación artística, mediación, inclusión social, taller. Abstract: Art Education, as a tool for social integration, is able to work as a mediator in different contexts to enhance critical thinking, find out meeting points, and exchange perspectives. Spain has developed several projects in which this discipline has been included in education programs in prison centres in order to contribute to the reintegration and cultural enrichment of inmates. This text describes the experience in the art workshop at the Prison Centre Madrid IV, located at Navalcarnero, Madrid.This iniciative has been coordinated by the organization‘Solidarios para el Desarrollo’, which works within the social and community action with the aim of creating spaces that promote rapprochement between different cultures and social situations. This article analyses the existing background, and it then deepens in the experience from the first contact until the accomplishment and evaluation of the activity. It is divided in two main parts that explain the social action and the artistic intervention. The results, which will end up in conclusions, have been obtained through the tracking cards of the targets, and the categories gathered in the assessment session. In this way, this experience can become a referent in the task of bringing artistic practices to deprivation of liberty contexts, using it as a tool for mediation and community reflection. Key Words: community art, prison, art education, mediation,social inclusion, workshop. http://dx.doi.org/10.7203/eari.8.9914


Author(s):  
Carolina Eve Blatt-Gross

Given our deep history of socially-situated artmaking and the human propensity for learning in social contexts, participation in community art offers a wealth of educational potential. Supported by research from neuroscience, anthropology, psychology, education and the arts, as well as concrete examples from higher education, this chapter will outline the theoretical basis for a curriculum rich in community art and establish such practices as a potential antidote to student apathy in contemporary classrooms. This body of interdisciplinary research situates community-based art education at the intersection of transformative community art, social learning theory, and student engagement. By first generating a community of practice within the classroom, then providing students with an opportunity to apply course content, contribute to their immediate culture, and take advantage of some of our most entrenched educational tendencies, community-based art education can be invaluable to student learning and engagement.


2017 ◽  
Vol 58 (1) ◽  
pp. 28-38 ◽  
Author(s):  
Kathleen Vaughan ◽  
Michel Lévesque ◽  
Linda Szabad-Smyth ◽  
Dustin Garnet ◽  
Sebastien Fitch ◽  
...  

Author(s):  
Linda Ashton

As part of art education studies, pre-service teachers at JCU have been active in public and community art projects 1999-2009. These works for and with diverse regional communities have been varied, challenging and on a number of levels, highly successful. A consistent theme in the works is the wet and dry tropical imagery of North Queensland. A visual overview will be presented of major projects to illustrate highlights, lowlights and issues. The presentation will celebrate imagination, diversity and how the process of making large scale artworks can be a catalyst for collaboration, education, research, lateral thinking, commitment to active citizenship and facilitation of strong, inclusive community partnerships.


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