30 resultados para Community art projects


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Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

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This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.

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This paper examines approaches to the visualisation of ‘invisible’ communications networks. It situates network visualisation as a critical design exercise, and explores how community artists might use such a practice to develop telematic art projects – works that use communications networks as their medium. The paper’s hypotheses are grounded in the Australian community media arts field, but could be applied to other collaborative contexts.

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This thesis establishes appropriate internet technology as a matter of sustainability for the community arts field. It begins with a contextual review that historicises community art in relation to technological, cultural, and political change. It goes on to identify key challenges for the field resulting from the emerging socio-cultural significance of the internet and digital media technologies. A conceptual review of the literature positions these issues in relation to Internet Studies, integrating key concepts from Software Studies and the computational turn with approaches from the fields of ICT for Development (ICT4D), Critical Design, and Critical Making. Grounded in these intersecting literatures the thesis offers a new pragmatic ethics of appropriate internet technology: one involving an alternative philosophical platform from which suitable internet-based technologies can be designed and assembled by practitioners. I interrogate these ideas through an in-depth investigation of CuriousWorks, an Australian community arts organisation, focusing on their current internet practices. The thesis then reflects on some experimental interventions I designed as part of the study for the purpose of provoking shifts in the field of community arts. The research findings form the foundation of a series of recommendations offered to practitioners and policy makers that may guide their critical and creative uses of internet technologies in the future.

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Natural hazards trigger disasters, the scale of which is largely determined by vulnerability. Developing countries suffer the most from disasters due to various conditions of vulnerability which exist and there is an opportunity after disasters to take mitigative action. NGOs implementing post-disaster rehabilitation projects must be able to address the issues causing communities to live at risk of disaster and therefore must build dynamic capacity, capabilities and competencies, enabling them to operate in unstable environments. This research is built upon a theoretical framework of dynamic competency established by combining elements of disaster management, strategic management and project management theory. A number of NGOs which have implemented reconstruction and rehabilitation projects both in Sri Lanka following the Asian Tsunami and Bangladesh following Cyclone Sidr are being investigated in great depth using a causal mapping procedure. ‘Event’ specific maps have been developed for each organization in each disaster. This data will be analysed with a view to discovering the strategies which lead to vulnerability reduction in post-disaster communities and the competencies that NGOs must possess in order to achieve favourable outcomes. It is hypothesized that by building organizational capacity, capabilities and competencies to be dynamic in nature, while focusing on a more emergent strategic approach, with emphasis on adaptive capability and innovation, NGOs will be better equipped to contribute to sustainable community development through reconstruction. We believe that through this study it will be possible to glean a new understanding of social processes that emerge within community rehabilitation projects.

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All too often young people are excluded in practice from the general policy and professional consensus that partnership and participation should underpin work with children, young people and their families. If working with troubled and troublesome young people is to be based on family support, it will require not only the clear statement of that policy but also demonstration that it can be applied in practice. Achieving that involves setting out a plausible theory of change that can be rigorously evaluated. This paper suggests a conceptual model that draws on social support theory to harness the ideas of social capital and resilience in a way that can link formal family support interventions to adolescent coping. Research with young people attending three community-based projects for marginalized youth is used to illustrate how validated tools can be used to measure and document the detail of support, resilience, social capital and coping in young people's lives. It is also suggested that there is sufficient fit between the findings emerging from the study and the model to justify the model being more rigorously tested.

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This paper addresses the relationship between local and distributed strategies with reference to two recent participatory sound art projects in Belfast and Rio de Janeiro. The local concern for site and place is discussed and juxtaposed with distributed practices, which,by definition question and extend the very notion of site or locale. I refer to examples from ethnomusicology, anthropology and education in which participative horizontal research methodologies lead to a dynamic articulation of local conditions and allow for a reflection on how technology impacts on social interaction and relationships with place. The works of Samuel Araújo, Georgina Born and Brazilian pedagogue Paulo Freire provide a framework of reference in this context.

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The traditional planning process in the UK and elsewhere takes too long to develop, are demanding on resources that are scarce and most times tend to be unrelated to the needs and demands of society. It segregates the plan making from the decision making process with the consultants planning, the politicians deciding and the community receiving without being integrated into the planning and decision making process. The Scottish Planning system is undergoing radical changes as evidenced by the publication of the Planning Advice Note, PAN by the Scottish Executive in July 2006 with the aim of enabling Community Engagement that allow for openness and accountability in the decision making process. The Public Engagement is a process that is driven by the physical, social and economic systems research aimed at improving the process at the level of community through problem solving and of the city region through strategic planning. There are several methods available to engage the community in large scale projects. The two well known ones are the Enquiry be Design and the Charrette approaches used in the UK and US respectively. This paper is an independent and rigorous analysis of the Charrette process as observed in the proposed Tornagrain Settlement in the Highlands area of Scotland. It attempts to gauge and analyse the attitudes, perceptions of the participants the Charrette as well as the mechanics and structure of the Charrette. The study analyzes the Charrette approach as a method future public engagement in and its effectiveness within the Scottish Planning System in view of PAN 2005. The analysis revealed that the Charrette as a method of engagement could be effective in changing attitudes of the community to the design process under certain conditions as discussed in the paper.

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Identifying community interests in the processes of planning and regeneration is less than straightforward. By their very nature programmes encourage the development of particular projects, typically relying on experience from past initiatives to inform current practice. One of the difficulties for partners is juggling the need to comply with administrative demands while engaging in a meaningful way with their community. This article uses empirical evidence to examine power relations within structures of governance. It argues that current processes are unable to identify real community interests and consequently create space that favour elite interests, all of which restrain the impact of governance.