Hints of propaganda in Owatonna?

     What was the Owatonna Project?  It seems like some pretty notable people, namely Edwin Ziegfield, Andrew Carnegie, and Melvin Haggerty, were interested in the concept of art in everyday life, so they organized a five-year study of a small town in Minnesota, which involved a total community involvement in the arts.  This study involved curricula in schools, exhibitions for the public, and consultations concerning artistic decisions with businesses and government officials. 

      One intriguing result of this study, according to Kerry Freedman (1989), was how the foundational philanthropy that made this and other landmark programs possible, utilized this and other projects to influence society to reject the concept of socialism in favor of industrial capitalism.  I believe this type of subtle propaganda is embedded throughout the workings of this world and infect most of the people that reside within it.  Although the good of these programs might outweigh the bad, it is sad that we cannot have programs that exist without any ulterior motives.  However, living in a world made up of human beings, this lofty goal is probably unachievable, for we all have beliefs that guide our every move, and thus we all exert an influence with everything we do.

We just need to make sure that our beliefs are firm and secure, in order to protect from the influences in the world that might divert us from where we want to go. 

Freedman, K. ( 1989). The philanthropic vision: The Owatonna art education project as an example of "private" interests in public schooling. Studies in Art Education, 31(1), 15-26.

The night the lights went out in Homer.

       For 5 days this week, I lived in what seemed like a surreal world.  When I went to bed on Monday night, I did not realize that it would be the night that the lights went out in Homer (to quote a rather catchy tune from the 70’s).   Why is that the worst things occur without any warning.  I even watched the weather that evening, and there was nothing… not even a hint of bad weather, in fact, the weather woman told us with a straight face that there is a disturbance, but it will dissipate, so no one should worry.   Can a weather woman be fired for a bad guess? 

         As I think back on what woke me up, it was not the wind, but the lack of electricity.  Lights go out… I wake up.  The strange thing on this evening was that the lights went out at my house, before the storm even started.  It happens so often at my house, that we have the Entergy 800 number written in Sharpie on the back of the antique emergency rotary phone. 

         When the sun finally came up, it was like opening the door after Dorothy’s house landed in Oz, except instead of beauty and color, there was destruction and shades of gray.  Life changed overnight.  During the day, we helped each other clean up the mess that the storm left.  During the evening, we sit in chairs outside and talk about how blessed we were that no one was hurt.  The only things that were lost were material and can be replaced. 

         The biggest impact from this experience has been the way people seem to drop their defenses and preoccupations, and act in a totally different way.  The true human spirit that is released when a community is faced with a tragedy is the way I wish humankind would act every day.  This will probably never happen, due to the fast paced, competitive style world we live in, but it is nice to dream.  Since I cannot create a world in which this feeling is prevalent, perhaps I can create this type of concern within the walls of my classroom with community-based art.  

Art Can Change Communities

Urban Art Trail Benchmark Project

      Even though, we often hear people make the claim that art can change lives, it is not widely publicized.  when I came across the article by Nancy Stutman, I found some evidence to back up this broad claim.  Stutman's article describes the effort Candice Lopez undertakes to use art as a means to change the dynamics of her neighborhood, which was being terrorized by drug dealers, as well as changing the lives of all who live, work, and visit there.  Ms. Stutman describes how the community banded together with the arts in order to create an ‘urban art trail’ comprised of graphics, poetry, calligraphy, and a mosaic mural which seems to represent a path to a peaceful future.

        After reading this article, and the reflections of those that experienced this transformation, I was inspired by the energy, security, teamwork, confidence, and renewed aspirations that develop, in both the individual and the community, as a result of a project of this caliber. 

Laurel True and Kenya Project

         This article makes me realize that art can be a powerful force within the community if we consider it as the voice of the people raised in unison to create social change.   I have found several artists, such as Laurel True, who have dedicated part of their time and effort in creating such a change.  Laurel uses mosaics to create economic opportunity and pride into areas where children are impoverished and live in poverty.  These examples have opened my eyes to the fact that community-based art can be a utilized as a vehicle for social change by empowering participants, transforming environments, and contributing to collective healing and economic development.  If it can work in these places, I believe it can work in my own community.

Stutman, N. (2001). Art changes lives (Urban Art Trail). Letter Arts Review, 16(1), 24-33.

Community-Based Art Education - Hunters/Gathers and More!

            I never considered community-based art to utilize such terms as hunter, gatherer, or detective, yet that is exactly what was utilized in Theresa Marche’s article on community art education.  In this article, Marche describes an approach to community based art education, which was utilized in a small rural school in southern Indiana.  This program, which explores internal and external communities as a part of the Project ARTS project, was directed towards developing the talents of multicultural, rural students who show promise in the arts.

            By allowing students to be active participants by looking-outward into the community in the roles of hunter/gatherers, detectives, and activists, they developed a connection to and appreciation for the history and customs of their community.  Another important process in community-based art education is the ability to look inward in order to create a community of support and collaboration in which students feel engaged. 

            This article helped me to realize that the more students are involved in their communities, the more they want to help solve the problems found there.  This new found desire to become social activists and community planners can lead to a greater understanding of the community which, in turn, can lead to a greater sense of ownership and empowerment. 

            One of the best lessons learned from this type of experience is that it may indeed take a village to change a village.  In other words, we cannot do it alone. This group helps spread effective community-based arts practices around the world.  This sentiment was best expressed by Marche herself: 

Like a pebble thrown into a pond, effects of this decision rippled outward to the community and then reflected back again, inward to the school community, creating an ever changing pattern of connections and personal relationships that enriched all who were involved.

            Besides looking inward for help within the school community, and looking outward for help within the local community, there are also organizations online that can help teachers with the process of community based art education.  One such organization is the Crossroads Institute that is located in New Orleans, Louisiana.   This group helps spread effective community-based arts practices around the world.

Marche, T. (1998). Looking outward, looking in: community in art education. Art Education, 51(3), 6-13.

Community Art & Intergenerational Communication

            My extensive search for information regarding community-based arts and the influence it renders is the result of watching my hometown community fracture during the past 20 years, due to the forces of globalization and economic hardship.  As I look at my community with its lack of public involvement, declining overall image, and disconnect between the various cultures I realize that change will not happen without help.  I know there is an answer to the problems facing my community, and the best place to start, in my opinion, is with communication. 

Hispanic Legacy Throne

            The article, Creating Public Art through Intergenerational Collaboration, by Alexenberg and Benjamin seemed to address this precise issue, through their descriptions of the “Legacy Thrones” project completed in Biscayne Bay, Florida.   This collaborative effort between a group of multicultural elders and students, began with a dialogue, continued with shared experiences, and resulted in an artistic statement that exudes shared realities and deeper understandings.   These extraordinary sculptures are a vivid expression of collaboration between those of different ages, cultures, and skills. 

            I can see how this technique would be beneficial to my own community, as a means to heal the divide and act as a healing force to help mend this already fractured community.   By articulating and sharing experiences, struggles, and dreams, a project such as this can use art as a bridge between citizens and students, and encourage change and improvement of their lives and community. 

Alexenberg, M., Benjamin, M. (2004). Creating public art through intergenerational collaboration. Art Education, 57(5), 13-18.

Community Arts Councils - Past & Present

           When one considers the concept of community-based art, it is through the lens of the value of arts beyond merely aesthetics.  One notable vehicle that can be the impetus for community-based art is the community arts council.   These organizations can provide a vision of the arts that moves beyond pretty pictures into the realm of transformation. 

            The article by Maryo Ewell (2000) traces the history of community arts councils from their infancy over 60 years ago to their entrance into the dawning 21^st century.  One of the first developments in the gestation of community-based arts councils was the Village Improvement movement of the 19^th century, which was committed to recapturing a sense of community through a concern for aesthetics.  Ewell (2000) goes into considerable detail in describing foundational stories and key individuals that led the arts council movement from gestation to birth in Winston-Salem, when local citizens banded together in an effort to consider the arts and how it can benefit the needs of the community.  She continues to trace the history of this vital arts organization as it evolved along with the evolution of the global society, addressing issues such as multiculturalism, environmentalism, globalization, social justice, diversity, and economic transformation.

            In order to understand the current role of community arts councils, it is essential to understand the history behind them.  Ewell’s (2000) research allows us to explore the significance of a community arts council’s role in providing arts movements with a community emphasis, as well as, community movements with an arts emphasis.   This shared history will inform and stimulate those interested in the field of community revitalization through the arts as they compel the community to see the value of the arts beyond aesthetics.

            It is clear to see how arts councils have moved beyond merely aesthetics by taking a look at this article, Art transforms community in Winnipeg, written about the With Art program instigated by the Winnipeg Arts Council that matches artists with community groups to tackle important issues within communities.  

Ewell, M. (2000). Community arts councils: Historical perspective. CultureWork: A Periodic Broadside for the Arts on Culture Workers, 5(1), 1-16.  Retrieved from http://aad.uoregon.edu/culturework/culturework15.html

Community Arts for Rural Teachers and Students

 

           During my search for community-based art information, I stumbled upon an interesting program called Project ARTS (Arts for Rural Teachers and Students).  The purpose of this 3-year research and development program, which was implemented in rural schools serving economically disadvantaged students of diverse backgrounds, was to identify talented arts students, implement arts curricula for several years, and evaluate the successes of these efforts.  This type of project seemed to be tailored for the student population that I currently teach.

Students make dye from idigo
plants in Project ARTS.

            The major concept of this program was to connect the students with the unique cultures and heritages of their communities in an effort to develop a greater understanding and appreciation of the traditions and customs that make their culture distinctive.  Clark and Zimmerman (2000) describe how each of the seven participating schools created a curricula that not only highlighted specific arts, histories and cultures of the local community, but also encouraged the interaction of the students within the community as they communicated with the locals and recorded information. 

            We in the art education field need to take note of the Project ARTS program, which succeeded in utilizing the resources of the community in developing appreciation and awareness of local art and history and creating a connection between school and community. 

            For a primer on community-based art, check out Community Art 101, that offers a lot of information for novices in this area.  The information is broken down into 3 categories:  arts disciplines, population, and social context. 

Clark, G. & Zimmerman, E. (2000). Greater understanding of the local community: A community-based art-education program for rural schools. Art Education, 53(2), 33-39.