Community Arts Research Articles

예술가 없는 예술지구

In the process of revitalizing hateful spaces in cities, cultural urban regeneration is known to play a positive role in fundamentally renewing the old negative image of an area. While the voluntary closure of Seonmi-Village, a notable red-light district in Jeonju City, through the implementation of cultural governance, is well-documented, little attention has been given to the operations and policy implications of Seonosong Arts Village. This study thus examines the transition from Seonmi-Village to Seonosong Arts Village, employing data collection and in-depth interviews with key stakeholders, including women’s rights advocates and local arts actors, with a focus on creative placemaking. As a result, it was stated that although the Women’s Rights Center’s solidarity activities with local artists in the process of publicizing women’s rights discourse showed tangible results, there was a relative lack of communication and solidarity between the actors. Furthermore, it was noted that artists tended to prioritize business endeavors over developing a comprehensive understanding of their locality. Hence, this study underscores the importance of nurturing a community of artists as local stakeholders for the sustainable implementation of cultural regeneration initiatives.

HISTORY AND PROSPECTS OF THE STRUCTURAL-FUNCTIONAL METHOD IN ETHNOLOGY: IMPLEMENTATION IN FAMILY RITUALS, STREET ART AND ACTIVITIES OF LOCAL ARTISTIC COMMUNITIES

The purpose of the article is to establish which structures should be considered the most characteristic and typical for the founders of the structural and functional analysis in ethnology – C. Lévi-Strauss, A. Radcliffe-Brown, E. Leach, V. Turner, V. Propp. The researcher singles out the main structure for each of them and demonstrates its functional capabilities. For Radcliffe-Brown, in the author’s opinion, the structure of the tribe and family relations between its members in one of the areas of Western Australia is fundamental. From the scientific heritage of Lévi-Strauss, the structure of the division into components of the ancient Greek myth about Oedipus stands out. Characteristic for Leach is the structure of “condensation”, in which two interconnected functions give rise to a third one, usually based on symbols and metaphors. A structure characteristic of Turner is a diagram of the spatial symbolism of a certain ritual of one Central African tribe. As an example of Propp’s structuralism, the division of a folk tale according to the functions of the characters is given, where each of the functions has a conventional designation, and as a result, we get the formula of the fairy tale plot. The author concludes that the possibilities of the structural and functional method are far from exhausted. Thanks to the examples presented in the article, it was possible to establish that the method of structural and functional analysis, initiated in the middle of the last century, can be successfully used in the latest research, in particular, the study of Ukrainian national rites of the family cycle, as well as street art and activities of artistic communities.

Visual artists’ professional and social status: Insights from post-socialist Serbia

This article suggests a new model for artist engagement by analysing challenges independent visual artists face in Serbia due to the shift to neoliberal capitalism. The aim is to address the alienation of independent visual artists from broader socio-political issues and to improve their social status through a socio-emancipatory mission of artistic practice. The methodology involves analysing international working conditions for artists, different cultural policy models, and alternative modes of artistic engagement, as well as case study of a community art project in Stara Pazova (Serbia). The significance of studying Serbia rests in its historical experience of self-management when culture was considered an integral part of the socialist society, fostering emancipation and creative freedom. The proposed model emphasizes the horizontality of decision-making and the need for progressive cultural policies that foster experimentation, autonomy, and freedom from bureaucratic requirements.

Pameran Seni Kontemporer Dalam Kemas Imaji Surealis Sebagai Wadah Masyarakat Penikmat Seni di Kota Malang

The arts in the city of Malang are so very diverse as well as the artists who continue to be creative in their work until now, to become a culture or culture in the city itself. Contemporary art often emphasizes ideas and concepts over technical skills alone, some works can appear more conceptually complex than visual. There is no single style or approach in contemporary art. Therefore, there is a need for a creative forum that combines all elements of art in the city of Malang. The purpose of this service is to create a forum for art creation in the form of art exhibitions for all artists in the city of Malang by developing the concept of works on contemporary art, as well as providing art connoisseurs related to education on the development of contemporary art to date, and providing new aesthetic experiences to the community. The contemporary art exhibition with the title Fenomeart in surreal image packaging is an attractive forum for art connoisseurs in Malang City. The following are some of the steps or methods that will be taken to organize an art exhibition, including determining the concept and theme, selecting artworks, determining the strategic location of the exhibition, promotion involving mass media, curatorial as well as educating the community, involvement of the art community in the city of Malang, security of artworks, and feedback from the public.

Every Thing Can Be a Hero! Narrative Visualization of Person, Object, and Other Biographies

Knowledge communication in cultural heritage and digital humanities currently faces two challenges, which this paper addresses: On the one hand, data-driven storytelling in these fields has mainly focused on human protagonists, while other essential entities (such as artworks and artifacts, institutions, or places) have been neglected. On the other hand, storytelling tools rarely support the larger chains of data practices, which are required to generate and shape the data and visualizations needed for such stories. This paper introduces the InTaVia platform, which has been developed to bridge these gaps. It supports the practices of data retrieval, creation, curation, analysis, and communication with coherent visualization support for multiple types of entities. We illustrate the added value of this open platform for storytelling with four case studies, focusing on (a) the life of Albrecht Dürer (person biography), (b) the Saliera salt cellar by Benvenuto Cellini (object biography), (c) the artist community of Lake Tuusula (group biography), and (d) the history of the Hofburg building complex in Vienna (place biography). Numerous suggestions for future research arise from this undertaking.

The Ukrainian Artistic Community in the United States in the late 1940s to the 1960s: A Socio-Cultural Portrait

The article analyzes the socio-cultural life of the Ukrainian artistic community—visual artists—who actively worked or began their professional activities in the United States after the World War II (from the end of the 1940s until the 1960s). The main centers of their settlement in the United States are identified, and their belonging to different waves of Ukrainian emigration and generations is classified. The paper also identifies the educational level of the community members, some art schools, where Ukrainian artists studied in the United States, and traces the process of professional adaptation and/or their professional realization in emigration, as well as their involvement in the cultural activities of the local Ukrainian diaspora. The aim of the paper is to identify the main features of the socio-cultural portrait of the Ukrainian artistic community in the United States during this period. The problem of the socio-cultural integration of artists outside their homeland is actualized in the context of a new wave of mass emigration from Ukraine against the backdrop of war and globalization. The article introduces little-known materials on the issue; systematizes and summarizes the collective experience of Ukrainian artists in entering the American socio-cultural environment; highlights some characteristics of the community. It is stated that the majority of Ukrainian artists of the older generation who arrived in the United States after World War II, having passed the initial difficult stage of social adaptation, integrated into American society. A large group of fine artists combined their creativity with stable work in areas close to their main specialty. At the same time, Ukrainian artists did not assimilate: they became active in the Ukrainian diaspora, created Ukrainian centers, and/or participated in the activities of numerous Ukrainian cultural institutions, including the U.A.A.A (Ukrainian Artist’s Association in U.S.A). The younger generation of Ukrainian emigrant artists, on the other hand, demonstrated a diversity of socio-cultural activities from the very beginning.

Nadzieja, niezgoda, solidarność. Sztuka społecznie zaangażowana na czasy kryzysów

This article is wrapped around the notion of artivism and social art revealing the variety of phenomena and philosophies that fall within the field of these practices. The author looks at current trends in social art and discusses them both in relation to the broader, current context of the field of art and from the perspective of potential future developments. She cites selected examples of activities that combine art, activism, education, and work with the community and, analyzing them, points out their main goals and the demands for change they bring with them. In doing so, she seeks to name the most relevant and vital topics and social issues – both those already being addressed and explored by engaged art, and those that appear to be an important direction for it to head in. Key-words: community art, participation, artivism, democratic turn, audiences, art with community

Evaluation of Contemporary Art in the Process of Production, Distribution and Consumption

How does the art community evaluate contemporary art? This question is discussed based on 16 interviews with artists, gallery owners, curators, and collectors. The contemporary art market is conceptualized as a “creative industry that unites actors involved in the production, distribution, and consumption of art objects. The research methodology is based on the anthropological approach of Igor Kopytoff and the discursive psychology of Rom Harré, according to which the history of the movement of cultural objects through social space and the discourses accompanying them are sources of symbolic values. Market practices of art distribution are described: criteria for selecting artists by galleries, legal aspects of distribution and consumption of art objects, informal purchasing practices, moral and pragmatic taboos on buying art objects. Four logics of justifying the value of art objects — “commercial success,” “testimony of the times,” “intellectual development,” “emotional experience”—have been reconstructed. It is demonstrated that consumption as a collector's practice requires following the rules of a “professional approach” to be recognized in the art community.

ArtSpace : Art and Music Gallery

ArtSpace is a revolutionary digital platform that redefines the landscape of artistic expression, community engagement, and creative collaboration. With a mission to democratize the art world and empower artists, enthusiasts, and collectors alike, ArtSpace serves as a dynamic ecosystem where creativity knows no bounds. This abstract explores the essence of ArtSpace, delving into its key features, impact on the artistic community, and vision for the future. At its core, ArtSpace is a hub of creativity, innovation, and inspiration. Artists from diverse backgrounds and disciplines converge on the platform to showcase their work, connect with fellow creators, and engage with a global audience. Through intuitive tools and interactive features, artists can upload their artwork, curate their portfolios, and interact with enthusiasts who share their passion for art. One of the defining features of ArtSpace is its emphasis on community building and collaboration. Enthusiasts can explore a rich tapestry of artwork spanning various genres, styles, and mediums, from traditional paintings and sculptures to cutting-edge digital art and multimedia installations. Through voting mechanisms, comments sections, and social sharing options, users can actively participate in shaping the narrative of the art world, fostering a sense of belonging and camaraderie within the community. ArtSpace serves as a catalyst for discovery, exploration, and engagement, offering users an immersive experience that transcends the boundaries of traditional art galleries and museums. By harnessing the power of technology, ArtSpace leverages augmented reality, virtual exhibitions, and interactive experiences to bring artwork to life in new and exciting ways. Users can immerse themselves in virtual galleries, interact with 3D models of sculptures, and experience multimedia installations from the comfort of their homes. Moreover, ArtSpace is more than just a platform for showcasing artwork—it is a marketplace, a classroom, and a cultural hub rolled into one. Artists can monetize their creations through sales, commissions, and collaborations, while enthusiasts can discover and collect unique pieces that resonate with their tastes and preferences. Educational resources, workshops, and tutorials provide aspiring artists with the tools and knowledge they need to hone their craft and pursue their passion for art. Key Words: art, music, creative space, mobile application, gallery.

Micronutrient intake in the martial arts community: Preparation for national sports

Study Purpose. The provision of protein is related to the intake of calorie reserves and is useful in repairing body cells. Therefore, the provision of protein for the body needs to be considered, especially for athletes. Protein intake can minimize calorie debt and immediately replace damaged cells caused by hard and overused training done by athletes. This study aims to determine the availability of protein intake in martial arts athletes in West Kalimantan Materials and Methods. The research method used was a survey with a sample of nine martial arts athletes in West Kalimantan. The instrument used in this study was a 24-hour food recall for 7 days. Data obtained through food recall were then analyzed using a food analysis application. The data analysis used in this research is descriptive statistics. Results. The results showed that 22.22% of low protein intake athletes and, 33.33% of high protein intake athletes, only 44.44% had moderate protein intake. These results prove that the protein intake of martial arts athletes in West Kalimantan is predominantly moderate. Conclusions. Fulfillment of balanced protein intake will help muscle adaptation, excess and deficiency of protein can interfere with the health and performance of athletes. Therefore, protein intake must be carefully considered, even though protein serves as a secondary energy source where the presence of protein in the body must remain and be fulfilled.

Bureaucratic Reform at Bandung Departement of Culture and Tourism in the New Public Service Perspective

This study purposed to analyze the application of New Public Service principles in bureaucratic reform through bureaucratic simplification policies at the Culture and Tourism Office of Bandung City. The research was conducted using descriptive qualitative methods. The data sources were collected through interviews, observations, and document studies. The results showed that the Department of Culture and Tourism of Bandung City has implemented New Public Service principles, such as: serving citizens, not customers; prioritizing public interests; respecting citizenship values; thinking strategically and acting democratically; multidimensional accountability; serving and empowering, leading; and respecting people, not just productivity. The application of these principles can be seen in programs such as online data and interview services, Bandung Creative Hub, intellectual property registration, collaboration with tourism stakeholders, art environment legalization programs, tax incentives for cultural heritage, and support for local art communities. This study concludes that the bureaucracy simplification policies of the Department of Culture and Tourism of Bandung have been implemented by promoting democratic values, public participation, and community service orientation, in line with the principles of New Public Service.

THE COMPARATIVE ANALYSIS OF PRACTICES OF SOCIO-ARTISTIC EDUCATION AT PEDAGOGICAL UNIVERSITIES OF RUSSIA AND CHINA

This scientific article is devoted to a comparative analysis of pedagogical higher educational institutions in China and Russia in the field of art education and social practice. The main purpose of the study is to identify similarities and differences between the educational systems of the two countries, their approaches to teaching contemporary art, as well as interaction with the artistic community and the social environment. The article provides an overview of the existing research in the field of socio-artistic education at pedagogical universities in Russia and China. The key aspects and practices are analysed, such as the organisation of the educational process, inclusion of students in art projects and practices, interaction with the local art community and social organisations. The results of the study help to identify similarities and differences in the approaches to socio-artistic education in educational institutions in Russia and China. The author discusses the advantages and disadvantages of each system and gives recommendations for improving the practice of socio-artistic education in pedagogical higher educational institutions of both countries. The research is of interest to educators, scientists and specialists in the field of art education, as well as those who are interested in comparative analysis of educational practices of art in different countries. The results of the work can be used to develop training programmes and improve the quality of socio-artistic education at pedagogical universities.

Kłopotliwa wielka płyta. Sąsiedzkie i artystyczne praktyki transformowania przestrzeni sofijskich kompleksów mieszkaniowych

The aim of the article is to show social practices (neighbourly and artistic) activated around the example of Sofia’s dissonant heritage, which is the space of a housing complex. The author interprets the capital’s block housing estates as zones of transition between what is public and what is private, where specialized urban planning meets the everyday experience of residents, and the dehumanizing uniformity of the landscape clashes with the effects of amateur activities aimed at personalizing the environment. Using the methodological tools of anthropology of visual culture and arts and cultural studies, the author considers grassroots ways of adapting housing estate space to the residents’ needs, as well as attempts towards its visual revitalization using street art. The analysis shows that apartment blocks — as dissonant heritage, and at the same time a personal space — are today a field of activities of local communities and the artistic community, exploring the aesthetic and social potential of housing complexes.

Nilai-nilai Kearifan Lokal Kampung Naga di Era Modernisasi

Kampung Naga is a traditional village that upholds the customs, culture and beliefs of its ancestral heritage in the midst of modernization. This study aims to know and understand history, cultural elements of the livelihood system, social and community systems, religious values, arts and technology, as well as identify the values of local wisdom from the people of Kampung Naga. The data collection technique used is a type of qualitative research prioritizing observation techniques, in-depth interviews and documentation to Kuncen, Guide,and a Society of Kampung Naga. The results show that Kampung Naga is able to maintain customs even though it is in the modernization era. The five elements of culture are livelihoods, social and organizational systems, arts and technology.

Arts and Crafts Management Model of Baan Huai Ta Community, Utttaradit Province

Purpose: The objectives of the present research on the arts and crafts management model of Baan Huai Ta community, Uttaradit province were to analyze the community arts and crafts management model; develop the community arts and crafts management model; and evaluate the community arts and crafts management model of Baan Huai Ta, Uttaradit Province. Theoretical Framework: This study employs the concept of local wisdom and product development and design. Design/Methodology/Approach: The procedures involved building a network, acquiring knowledge, developing a community arts and crafts management model, developing community arts and crafts, evaluating the community arts and crafts management model. A qualitative research was employed consisting of observation, in-depth interviews, focus group discussion, and participatory action. Findings: The analysis of community arts and crafts management model suggested the area-based potential of Baan Huai Ta with arts and crafts abilities including weaving, wickerwork, and wood carving. Her Majesty Queen Sirikit had graciously supported people in the community to receive career development trainings in arts and crafts intended to offer extra jobs for generating more income. Their products were delivered for distribution to the Bureau of the Royal Household and the Arts and Crafts Promotion Foundation. Research Practical and Social Implication: Evaluation results of community arts and crafts works were as follow: increased value at a highest level; design concept at a highest level; selection of raw materials at a highest level; production process at a highest level; quality and beauty at a highest level; increased value added at a very high level; creating identity at a very high level; and generating value added at a very high level. The arts and crafts management model of Baan Huai Ta community, Uttaradit province comprised 4 components namely: analysis of community context; analysis of community management//network building; development of arts and crafts; and evaluation of arts and crafts management model. Originality/Value: The development of community arts and crafts management models focused on the designs with applied local wisdom to provide community products. The design concept is based on the link of science and knowledge in coordination with applied local materials to develop community products with an aim to bring about value added, self-reliance, as well as group forming. This had led to the development of products consisting of 12 pieces of fabric art and craft products, 2 pieces of carving art and craft products, and 8 pieces of wickerwork arts and crafts products, totaling 22 products.

The Practical Path and Promotion Strategy of Integrating Chinese Public Art into Urban Communities

At the end of the 19th century, foreign powers invaded China, and western culture also entered China along with the army. Western commemorative statues and monuments appeared on the concessions of Chinese cities, which can be regarded as the earliest public art in China. After a hundred years of development, the connotation and practice mode of public art are gradually enriched. Nowadays, public art has become a "bottom-up" and "participatory democracy" practice, realizing the public interest of the community residents through the cooperation of government departments, community residents, and professional artists groups. Based on the "new genre public art" proposed by Susan Lacacy, combined with the advanced community art practice of Japan and Taiwan, China, this paper discusses the practical path and promotion strategy of Chinese mainland public art into urban communities believing that it is necessary to improve from three aspects: the content optimization, the multi-party participation, and the financing expansion of community announcement art.

Turning community stories into community art1

A broad range of community art projects and programmes have been documented around the world since I first reported on this project in 2012. However, it still remains that lack of time and/or funding means that most art teachers are unable to engage in community arts or generate resources and opportunities to teach community arts. This means that unless community art projects directly engage schools and teachers in their projects and time is put aside for students and teachers to go on excursions, visit sites and engage with these communities, there are few opportunities for students to engage in community arts-based learning. This article reports on an innovative community art project that engaged narrative, and sculptural form, as a way of learning about community, place and identity. The project is explained from the perspective of an art educator, researcher and artist who was employed in the project both as community artist and as facilitator. This ‘insider’s perspective’ aims to afford some context to relevant theories through which such projects can be understood as potentially beneficial to art education – particularly in the way people have used narrative to communicate issues of place and the ways in which artists have translated community narratives into sculptural form. The author’s insider perspective offers insight into this project to share how a community art project could be designed and facilitated for students to engage in their local region and therefore a way forward for teachers and students to engage in something similar, to learn about how community stories can be translated into contemporary art, and the important role of place and identity in this work.

Marking Time in an Artisan Community

Marking Time in an Artisan Community

The Social Impact of Creative Arts in Australian Communities, Sandra Gattenhof, Donna Hancox, Helen Klaebe and Sasha Mackay (2021)

Review of: The Social Impact of Creative Arts in Australian Communities, Sandra Gattenhof, Donna Hancox, Helen Klaebe and Sasha Mackay (2021) Singapore: Springer, 142 pp., ISBN 978-9-81167-357-3, e-book, €106.99

Longitudinal Associations of Experienced and Perceived Community Stigma With Antiretroviral Therapy Adherence and Viral Suppression in New-to-Care People With HIV: Mediating Roles of Internalized Stigma and Depression Symptoms.

Although cross-sectional studies have suggested that HIV-related stigma and depression symptoms may result in poor HIV treatment and health outcomes, few studies have investigated potential longitudinal mechanisms in these relationships. Furthermore, longitudinal effects of HIV-related stigma on health outcomes have not been examined in people with HIV (PWH) newly initiating HIV clinical care. We examined longitudinal associations between experienced and perceived community stigma and health outcomes (antiretroviral therapy [ART] adherence and viral load), mediated by internalized stigma and depression symptoms among new-to-care PWH in the United States. Data were obtained from 371 PWH who initiated HIV medical care at 4 HIV sites at baseline and 48 weeks later between December 2013 and 2018. Validated measures were used to assess experienced stigma, perceived community stigma, internalized stigma, depression symptoms, and ART adherence, and viral load was obtained from medical records at the final study visit. Serial mediation models revealed significant indirect effects of experienced stigma and perceived community stigma on ART adherence and on viral suppression, first through internalized stigma and then through depression symptoms. These results suggest that PWH may tend to internalize HIV-related stigma when they experience acts of stigmatization or perceive negative attitudes in society, which in turn may result in negative effects on psychological and physical well-being. These findings about how stigma in society may be an antecedent mechanism for PWH to develop internalized stigma, which in turn affects individual health outcomes, can be used to tailor both individual-level and community-level interventions.