Abstract
This paper will look at art education as an active intervention in community cultural development by looking briefly at past and present uses of African art as vehicles for maintaining social control, developing historical concepts, and disseminating educational values. We will first discuss some examples of African art objects in traditional societies as tools for social control, historic memory and education and then discuss how similar concepts are manifest in contemporary urban societies by looking a more contemporary example in the form of a phenomenon called set-setal, a movement that took place in Senegal between the years of 1989 and 1992. Key-words: community, art education, african art.
Highlights
This paper will look at art education as an active intervention in community cultural development by looking briefly at past and present uses of African art as vehicles for maintaining social control, developing historical concepts, and disseminating educational values
We will first discuss some examples of African art objects in traditional societies as tools for social control, historic memory and education and discuss how similar concepts are manifest in contemporary urban societies by looking a more contemporary example in the form of a phenomenon called set-setal, a movement that took place in Senegal between the years of 1989 and 1992
What is community art education? The dictionary defines community as a unified body of individuals; people with common interest living in a particular area, the “community.” In many definitions community refers to a location where people of common interest and characteristics live together
Summary
This paper will look at art education as an active intervention in community cultural development by looking briefly at past and present uses of African art as vehicles for maintaining social control, developing historical concepts, and disseminating educational values. This phenomenon is generally defined as a collaborative creative process between a professional practicing artist and a community or a process of collaboration between artists and community in addressing agreed upon issues as expression of identity, relationship, or purpose It is important as a community development process, as a means to connect artists with the community, to encourage participation in the arts, and to demonstrate the relevance of the arts to every day life. In this paper I will explore this notion of active intervention of art in ones own cultural development by looking briefly at some traditional African examples and at a phenomenon called set-setal, a movement that took place in Senegal between the years of 1989 and 1992. What makes this contemporary phenomenon so interesting is that issues of physical and morale cleanliness have always been at the center of the use of art in traditional African communities
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