Community-based Art Education Research Articles

Revitalizing Art + Design Education Through Expanded Notions of Community-Based Art Education

Revitalizing Art + Design Education Through Expanded Notions of Community-Based Art Education

Art Education for Social Inclusion and Diverse Communities

Since the 1990s, the exploration of dialogic and educational approaches within the realm of international contemporary art has spurred art educators and scholars to devise strategies that extend beyond the confines of the classroom, and formal education. This direction of art and art education emphasizes a keen awareness of the strengths inherent in communities and localities, encompassing their unique cultures, histories, and meaningful encounters between community members, generations, and diverse cultural minorities (Hiltunen, 2009; Huhmarniemi et al., 2021). Socially engaged art and community-based art education align with dialogic aesthetics, a framework in which art unfolds through an internal dialogue within a community.

The contribution of Sanggar Siradjuddin Gowa as a Developer of Traditional Dance Arts in the Context of Community-Based Arts Education

Abstract This research is motivated by the activities of members of the siradjuddin studio in gowa district, who have made various contributions as developers of traditional dance arts in the context of community-based arts education. This research was carried out to support arts and culture education and the inheritance of cultural traditions in a district . This type of research uses an interdisciplinary approach consisting of the disciplines of Ethnochoreology and Arts Education using qualitative methods based on case studies. The results of the research show that the contribution of the Gowa Siradjuddin Studio as a developer of traditional dance arts in the context of community-based arts education consists of three, namely (1) the contribution of the Siradjuddin Gowa Studio as a manager of non-formal arts education (educational contribution), (2) the contribution of the Siradjuddin Gowa Studio as an arts developer. traditional dance (conservative contribution), (3) contribution of the Siradjuddin Gowa studio as a creative industry player.
 Keywords: Contribution , Traditional Art , Community Based Arts Education .
 
 ABSTRAK Penelitian ini dilatarbelakangi oleh kegiatan anggota Sanggar Siradjuddin Kabupaten Gowa yang telah memberikan berbagai kontribusinya sebagai pengembang seni tari tradisional dalam rangka pendidikan seni berbasis masyarakat. Penelitian ini dilakukan untuk mendukung pendidikan seni budaya dan pewarisan tradisi budaya di kabupaten Gowa. Jenis penelitian ini menggunakan pendekatan interdisiplin yang terdiri dari disiplin ilmu Etnokoreologi dan Pendidikan Seni dengan menggunakan metode kualitatif berdasarkan studi kasus. Hasil penelitian menunjukkan bahwa kontribusi Sanggar Siradjuddin Gowa sebagai pengembang seni tari tradisional dalam rangka pendidikan seni berbasis masyarakat terdiri dari tiga, yaitu (1) kontribusi Sanggar Siradjuddin Gowa sebagai pengelola pendidikan seni non formal (Kontribusi Edukatif), (2) kontribusi Sanggar Siradjuddin Gowa sebagai pengembang seni tari tradisional (kontribusi konservatif), (3) kontribusi sanggar Siradjuddin Gowa sebagai pelaku industri kreatif.Kata Kunci : Kontribusi, Seni Tari Tradisional, Pendidikan Seni Berbasis Masyarakat.

Augmented Reality Supported Learning for Cultural Heritage of Taiwan in On-Site and Off-Site Environments: The Case of a Daxi Old Street

This study aims to explore whether the integration of Augmented Reality (AR) technology used in community-based art education can improve the participants’ learning effectiveness and to compare its effects in two different learning environments (on-site and off-site). A quasi-experimental research design has been conducted to check the effectiveness of integrating AR activities in terms of learners’ effectiveness. The sample for this study includes 40 and 64 participants in on-site and off-site groups, respectively. The on-site group visited the real environment and viewed AR-integrated materials such as posters and rhymes; the off-site group visited the school exhibition and viewed the same materials as the on-site group. The data was obtained through motivation, learning satisfaction, technology acceptance, and learning effectiveness scales designed by the researchers. Descriptive statistics and an independent t -test were utilized for the data analysis. There was a significant difference in learning motivation, learning effectiveness, and learning satisfaction between on-site and off-site groups; however, there was no significant difference in the mean of technology acceptance. This study finds that the use of AR digital materials facilitated the visitors’ experience of cultural heritage and improved participants learning effectiveness, and particularly learning satisfaction and learning motivation, more so in the on-site experience than in the off-site experience. Results also revealed that there was a significant difference in gender and age toward learning motivation and learning effectiveness. With respect to participants with different artistic and educational backgrounds, the results showed no significant differences in learning motivation, learning effectiveness, learning satisfaction, and technology acceptance. Finally, recommendations for future practices and research are discussed.

Short- and Long-Term Outcomes of Community-Based Art Education among Students in Higher Education

Advocating for the academic value of community-based art education requires empirical evidence that students are not just participating in community-building activities, but also effectively learning content. Unfortunately, little is known about the short- and long-term cognitive outcomes on student participants, particularly in higher education. Based in a phenomenological methodology with a reflective lifeworld research design, this longitudinal study seeks to understand the interwoven cognitive and social outcomes of participating in community-engaged art projects among college students. Informed by a theoretical framework in which CBAE situates learning in authentic social contexts, findings suggest that it may be decisively poised to yield short- and long-term educational benefits in which student learning deepens through the development of social connectedness. These findings expand the possibilities for collaboration as a pedagogical model for inclusive postsecondary education.

Community-Based can impact the status of art education in Saudi Arabia “Community-Based Art Education”

Community-Based can impact the status of art education in Saudi Arabia “Community-Based Art Education”

Body mapping as embodiment and witnessing and its implications for art education

Body mapping refers to the process of representing a person’s lived experience and sociocultural contexts by creating a visualization of the person’s body, with accompanying texts and symbols. Despite the history of disembodiment in the western context, the wide use of body mapping as a visual methodology in various fields attests to the potential of body mapping in promoting embodiment and witnessing. By analysing three body maps that were created at three distinct teaching sites in community-based and preservice art education settings, I examine how body mapping can evoke embodied witnessing and explore its implication for art education.

555 The Art of Caring

IntroductionProviding Burn Care is a physically and emotionally demanding job. AND, it is a rewarding and inspiring profession. 2020 and 2021 saw unprecedented rates of burn out and turn over in staff. Our concern for the well being of staff as well as our need to increase retention motivated our desire to provide staff with tools to build resiliency and coping strategies. Traditionally, this education comes in the form of teaching mindfulness, breathing exercises or self care outside of the burn center. We recognized that while these approaches are important and effective, they are not the right fit for everyone. The current times require us to use a multipronged approach to the tools we offer our burn teams.Our regional burn center partnered with a community based arts education nonprofit to re-think how we provide staff with tools for adaptability. A curriculum was formulated that provided therapeutic art to nursing staff via four weekly zoom meetings. This resulted in a novel approach to resiliency building and self care.MethodsThe program was opened to all burn center staff members. Staff registered in advance for the four week program; the arts organization mailed each participant a box containing all the supplies they would for need. Each week, a different art modality/artist was paired with therapeutic discussions grounded in a trauma informed approach. Discussions focused on emotional and physical safety, building a community of support, finding balance between work and home and identifying coping skills to use to help ground ourselves during times of stress.ResultsSeven burn center staff members signed up for this program. Weekly attendance averaged 6-7. A program evaluation was completed by participants at the end of the final session. Questions were divided into three sections: program logistics, community building and the artistic process. Results indicated that this was an extremely valuable experience for participants. In addition, staff made comments such as "allowing myself to be vulnerable in the process has built trust and connection between myself and the other participants", "I don't remember the last time I did something like this just for myself", "I feel like I can add art to my list of coping strategies, despite never thinking of myself as an artist".ConclusionsOffering burn center staff with an alternative program to help build resiliency resulted in an increased sense of trust between staff members, provided one more outlet for self care and allowed participants to build resiliency in a new way.

Spotlight on Reciprocity in Service-Learning

Safety protocols for COVID-19 necessitated changes to this action research project. This article describes the theoretical framework of Community-Based Art Education for providing Service-Learning in an art education preparation program during the global pandemic. Art education students joined the local Boys & Girls Club (BGC) and a local community arts center to explore the idea of social justice and intercultural harmony by creating a mural through completely remote means. Eight art education students mentored eight BGC youth during weekly Zoom sessions to complete the 16-panel mural. Participants expressed their perceptions about different aspects of the project during focus group interviews. The installation of the mural in the local library was covered by local media as children and mentors presented the final project.

Multigenerational Art Making at a Community School: A Case Study of Transformative Parent Engagement

In this article, Kevin M. Kane, Karen Hunter Quartz, and Lindsey T. Kunisaki describe the transformative parent engagement fostered in a multigenerational afterschool arts program at a community school. Community schools bring together families, teachers, and other neighborhood partners to help students learn, grow, and thrive and often integrate health, education, and social services. This embedded case study shows how community schools can also nurture cultural assets in the form of parents’ community cultural wealth. The learning of these community school parents demonstrates the mutually reinforcing relationships between transformative parent engagement, collaborative leadership, expanded learning opportunities, and integrated student supports. This study highlights the transformative impact of culturally sustaining arts on individuals, families, and the school as a whole, offering implications for researchers and practitioners in community-based arts education and community school development.

Community-Based Art Education as a Cultural Transfer Strategy in the Jaran Kepang Art Performance of Semarang Regency

Jaran Kepang Semarangan is a community based art product. It is a product that has existed in between generations. This research reviews community-based art education as a means to transfer the culture of Jaran Kepang performance. This research is qualitative research with an interdisciplinary approach of sociology to discuss community-based art education and anthropology to dig deeper into the system of knowledge, values, and beliefs within the performance of Jaran Kepang. The research includes a field study in Semarang Regency. The researchers collected the data through observation, interviews, and documentation. The researchers validated the data through triangulation of technique, sources, theory, and times. The data were analysed based on the theories of Janet Adshead along with Miles and Huberman. The research finds that 1) there is a change of community-based art education, including the system of knowledge, values, and beliefs; 2) the transfer of Jaran Kepang is similar to the theory of Cavalli-Sforza and Feldman under the scheme of AGIL (Adaptation, Goal-attainment, Integration, Latent-pattern-maintenance). There is a shift of inheritance system which is from vertical transmission (intergeneration of family) to horizontal transmission or planned regeneration via social media, training, and performance; 3) the development of Jaran Kepang Semarangan is categorized into five types, which are ritualistic ceremony; entertainment of people who hold events, such as marriage, circumcision, gratitude events; rayonan; and entertainment in tourist attraction, cultural festival, or dance competition.

지역사회 중심 미술교육에 기초한 가구디자인 프로그램으로 본 중년 자아존중감 변화에 대한 질적 연구: 평생학습을 중심으로

지역사회 중심 미술교육에 기초한 가구디자인 프로그램으로 본 중년 자아존중감 변화에 대한 질적 연구: 평생학습을 중심으로

In the face of the unprecedented: creative youth development guides organizations to adapt, support, and thrive

This article examines how important an explicit mission and values framework can be for community-based arts education organizations in times of crises. This argument draws on interview data from early and later points in the COVID-19 pandemic with three community-based arts organizations whose work is deeply rooted in creative youth development (CYD) principles: Enriching Lives through Music in San Rafael, CA, Elevated Thought in Lawrence, MA, and Austin Sound Waves in Austin, TX. While the organizations represent different geographies, art forms, and approaches, each has depended on CYD’s core set of values to guide its rapidly evolving efforts during the first six months of the pandemic. Moreover, as each organization has listened and worked with young people in new ways, that work expanded and deepened the original CYD framework. But even as these organizations prevail, all three cases also reveal the fundamental vulnerability of community-based arts education and the kinds of recognition and civic supports needed to ensure that such work thrives.

When questions are our best answers: responding to the impact of COVID-19 on community-based arts education organizations: a special issue of Arts Education Policy Review

The details of the COVID-19 global pandemic were the lockdowns, face masks, and video conferences, but the full burden of the pandemic included facing the profound inequities in civic, health, education, and other policies that multiplied the effects of the disease. Between March and September 2020, these effects hit the world of community-based arts organizations broadside, stifling the creative activity for young people across the world. Even as youth-centered arts organizations sought to sustain programs of creative skill building, inquiry, and expression with positive youth development principles, they became food pantries, hot spots, and curbside sources of legal advice and financial aid for struggling families. In making that transition, old habits and assumptions have given way to fundamental questions about the definitions of art, arts education, community, leadership, funding, and policy. This introduction summarizes articles that redefine policy as spanning from individual teaching artist practice to municipal and national procedures. Together, they raise basic questions about the new kinds of organizations and practices that could emerge from the crises of early 2020 – given the will to seize the insights of the pandemic.

Review of Community-Based Art Education Across the Lifespan: Finding Common Ground

Several excellent paradigmatic approaches exist that emerge from various permutations of the terms community and art across the disciplines of art, education, and art education, with a vast number ...

Community‐Based Art Education in China: Practices, Issues and Challenges

AbstractArt educators have been promoting Community‐Based Art Education (CBAE) in schools in order to enhance students’ sense of socio‐cultural identity and contextual learning about local art and culture. It cannot only bridge the gap between the students’ daily lives and the communities and art, but can also enhance their inquiry, discovery and meaning‐making abilities. In China, the community‐based approach plays a significant role in the National Standards for Visual Arts, and Chinese art educators have been applying CBAE in school art education for decades. However, Western art educators are still unfamiliar with the issues, practices and challenges related to CBAE in China owing to language constraints. In light of the above, this article aims to initiate a dialogue between Western and Chinese CBAE researchers through discourse and discussions on the main issues related to CBAE in Chinese art education. It outlines current practices of, and issues related to, CBAE from the perspective of Chinese art education. It also discusses the three major challenges to the implementation of CBAE in China, namely the conflict between indigenous knowledge and official knowledge in the school art curriculum, lack of motivation among teachers, and neglect of context in the practice of local art in schools. It is hoped that this article it will enrich our overall knowledge of CBAE and contribute to the understanding of CBAE from a global perspective.

At the Crossroads of Intersecting Ideologies: Community-Based Art Education, Community Engagement, and Social Practice Art

In this article, I examine the intersecting ideologies and practices of community engagement, social practice art, and community-based art education through social interaction and cooperation. Using a case study of art education courses I have taught, I make connections between these three practices, focusing on the democratic concepts of civic responsibility, social justice, common themes of human experience, and meaning-making with and through art in schools, museums, and communities. Providing preservice and in-service art educators with access to empowering community-engaged experiences that holistically integrate their artist/teacher/researcher identities can be personally, professionally, and socially transformative. Modeling curricular practices for students that account for their personal artmaking; the learners’ cultures; and the tenets of social practice art, engaged pedagogy, and community-based art education can better prepare art educators to reconceptualize curriculum in response to community and social engagement concerns.

Towards Good Practice in Community‐Based Arts Education in Hong Kong

AbstractThrough the participation of local communities in the arts, Community‐Based Arts Education (CBAE) raises awareness of ecology and the environment, and also facilitates the search for and establishment of a socio‐cultural identity. It provides students with specific forms of experiential learning involving out‐of‐classroom experiences. Since 2003 the Education Bureau in Hong Kong has promoted learning arts in the community in an informal arts educational context. To suit the needs of CBAE, since 2011 the Leisure and Cultural Services Department has offered four successful community‐based arts educational schemes to local primary and secondary students. The aim of the schemes is to enrich students’ knowledge of arts and culture and strengthen their capacities to learn arts appreciation and criticism. Between 2011 and 2013, over 30,000 primary and secondary students participated in the schemes. This article reports on a study of the schemes which aimed to identify key elements of good practice in CBAE from students’ and teachers’ perspectives. In this larges‐cale study, a total of 15,430 students between Primary 1 and Secondary 6 (age 6 to 17) and 1,306 teachers who participated in the schemes were invited to take part in surveys and focus group interviews. The results show that the three central tenets of self‐determination theory, namely, competence, autonomy and relatedness, are the key elements of good practice in CBAE. It is hoped that the research findings will enrich existing knowledge of and provide a new research direction for CBAE.

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

A Qualitative Study on Community-Based Culture and Arts Education in School Based on Socially Engaged Art

본 연구는 지역연계 학교문화예술교육이 학교 안에서 예술교육을 활성화하고 학교문화예술교육의 지속 가능성을 개선할 수 있는 하나의 대안이 될 수 있음에 착안하여 사회참여미술을 중심으로 그 가능성을 탐구하는 데에 목적이 있다. 이를 위해 본 연구는 교사, 정책전문가, 실천가를 대상으로 집단심층인터뷰(FGI)를 진행하였고 분석 결과 다음과 같다. 첫째, 교육 주제 에 대하여 학생들의 관심과 흥미를 유발할 수 있도록 그들의 ‘관심사’에 주목하여야 한다. 둘째, 학생들이 수업 시간에 학교에 서 배우는 지식들이 자신의 일상과 밀접한 것임을 알게 하고, 진로와도 연결될 수 있다는 것을 깨달을 수 있도록 지역사회와 의 ‘공감’을 이끌 수 있는 장치 마련이 필요하다. 셋째, 학생들이 지역 구성원의 일원으로서 역할을 가지고 수업에 임할 수 있도록 수업 내 ‘활기’를 부여하기 위해 작지만 실제적인 경험할 수 있는 장을 마련하여야 한다. 넷째, 학생들이 단순 체험만 하지 않도록 명확한 수업 목표와 학습 개념을 설정해야 하며, 예술 전문가는 자신이 가진 주관을 주입시키지 않도록 교수자 로서 ‘절충’할 수 있는 역량을 갖추는 것이 중요하다. 본 연구를 통해 학교문화예술교육이 단순히 예술강사 지원의 차원을 넘어 지역사회와 학교 사이의 연결고리로서 그 역할이 확장될 수 있는 가능성을 논의하였다는 것에서 의의가 있다.