Dissertations / Theses: 'Community Arts'

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Hinshaw, Tessa. "Community arts and child wellbeing." Thesis, Canterbury Christ Church University, 2014. http://create.canterbury.ac.uk/12810/.

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There is growing evidence to suggest that group singing in the community can have positive outcomes for physical and psychological wellbeing. To date, research has focused on adult populations. This study aimed to add to existing understanding of the impact group singing can have on children’s psychological wellbeing. A mixed method study was carried out to investigate the impact of a community group singing project on the psychological wellbeing of school children in the London area. Self-rated measures of psychological wellbeing and identity as a singer were administered to 60 children aged 7-11 at three time points. A teacher-rated measure of psychological difficulties was also administered. Finally, a sample of children discussed their experience of the project in focus groups and music teacher interviews were carried out. Quantitative data did not confirm the hypothesis that choir member’s psychological wellbeing would increase following participation in the singing project. Identity as a singer scores were higher for females than males, and correlated with scores of psychological wellbeing. Qualitative data provided evidence for a range of beneficial outcomes for children. Research limitations: The small number of participants recruited for the non-choir control group is a significant limitation of quantitative methods in this study. Originality: Although group singing appears to be a positive experience for children who participate, findings suggest the impact may be more subtle for children with high levels of psychological wellbeing.

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Keller, Sarita Talusani. "Enacting Community Through the Arts." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799525/.

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This study is concerned with the roles and relationships between artists-in-residence, community audiences, and program coordinators/art educators as they engage together in community arts programs. This study takes place at Project Row Houses (PRH), a community arts organization located in Houston, Texas and focuses on the artist-in-residence program, which commissions a group of national and international artists for a 6-month period to create art installations in relation to the community and its African-American heritage. This ethnographic case study is based on the activities and events surrounding the 2008 PRH exhibition, Round 29, Thunderbolt Special: The Great Electric Show and Dance, after Sam Lightnin’ Hopkins and employed qualitative data gathering methods of participant-observation, conducting semi-structured, open-ended, in-depth interviews, and through document collection, and contextual information. Observations were recorded through field notes, photographs, and video. Interviews were conducted with 3 artists-in-residence, 3 community audience members, and 3 program coordinators or staff members involved with the program, regarding their experiences at the site and experiences with each other. My analysis presents the roles of artist, community audience, and program coordinator/art educator through three sections on cultural work. Within these sections I discuss topics related to the power of voice, situatedness, and creativity, as it relates to the artists and community audiences. For the role of program coordinator/art educator, I focus more closely on her role in the process of mediation. Topics of power, social dynamics, identity, and representation are also framed within these discussions.

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Tse, Kam-wing, and 謝錦榮. "Extension of Ship Street: arts Community." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983662.

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Woodruff, Graham James Michael. "Community arts theatre : subversion or incorporation?" Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405025.

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Tse, Kam-wing. "Extension of Ship Street : arts Community /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25955184.

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Riley, Erin Katelynn. "ORIGINAL INTENT: ARTS BUILDING THE COMMUNITY." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192973.

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Chambers, Cynthia R. "Building an Inclusive Performance Arts Community." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3866.

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Chambers, Cynthia R. "POP Arts Enhances Skills, Creates Community." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3849.

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Richards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16036/1/Michael_Richards_Thesis.pdf.

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This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

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Richards, Michael John. "Arts Facilitation and Creative Community Culture: A Study of Queensland Arts Council." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16036/.

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This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

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Chambers, Cynthia R., K. Buttolph, A. L. Shortt, C. Culbertson, and K. Bevins. "Power of Performance Arts: An Inclusive Community-Based Performance Arts Program." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3878.

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Sharon, Tamar. "Reconciliation and community development through community art: an investigation into the methodologies employed by community artists." Doctoral thesis, Universitat Rovira i Virgili, 2013. http://hdl.handle.net/10803/111096.

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la hipótesis inicial de la investigación fue que el éxito de un proyecto de arte comunitario y su capacidad para reconciliar est´fundado únicamente en la metodología artiística y su aplicación adecuada. no obstante, ésta investigación, realizada durante los últimos diez años, investigando las teorias presentadas por autores e investigdores líderes en el campo, combinado una profunda investigación de diez casos, me llevaron a descubrir que existen otros parámetros de éxito de proyectos de Arte comunitario los cuales llamo:" parámetros socio-organizacionales". Es de la combinación exitosa de dos conjuntos de parámetros en un proyecto de arte comunitario de lo que dependen los buenos resultados.

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Moody, Elaine Marie. "The experience of community for seniors involved in community-engaged arts." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1861.

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Social isolation is a concern for the health of older adults in Canada. Community-engaged arts (CEA) programs are thought to support social inclusion but how such programs contribute to building community connections for older adults at risk of social isolation is poorly understood. This study, therefore, is aimed to explore the experience of community for this population in the context of a CEA program as well as the role the program plays in that experience. A qualitative study using ethnographic methods was conducted to answer two research questions: (1) What does community mean to seniors in the Arts, Health and Seniors program? (2) What is the role of the Arts, Health and Seniors program in the participants’ experience of community? Data were collected over a six week period using participant observation, semi-structured interviews and document analysis. The sample was a group of 20 urban-dwelling seniors at risk for social isolation who participated in a CEA program once a week. Regular group art sessions were observed by the researcher and extensive field notes were recorded. Interviews were conducted with five senior participants and four other key informants (including two artists, a senior worker, and an administrators), and documents related to the community were reviewed. Data were analyzed throughout the data collection process and interpretations were noted. Through immersion in the data and a movement between the data and interpretations, themes were developed. Connections between themes were explored and taken back to the data. Findings were presented as a detailed description of the participants’ experience of community. Community for the participants focused around the Seniors Centre where the program was held. The participants expressed that the meaningful relationships at the centre made it ‘another home’ and was a place they could find resources to adapt to challenges. The CEA program provided a unique experience of community through working together as a group and making new social connections. For health professionals working with older people at risk for social isolation, this research will add to the understanding of how community is experienced by older adults and how community is supported by CEA programs.

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Ross, Jane Elizabeth. "Regional Victorian arts festivals : from community arts to an industry based model /." Connect to thesis, 1999. http://eprints.unimelb.edu.au/archive/00000957.

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Tartoni, Christopher W. "ARTISTS AND NEIGHBORHOOD CHANGE: A CASE STUDY OF THE LOWERTOWN ARTS DISTRICT AND THE KERNVILLE ARTS DISTRICT." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179941119.

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Keys, Kathleen. "A search for community pedagogy." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060041293.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xii, 260 p.: ill. (some col.). Includes abstract and vita. Advisor: Christine Ballengee Morris, Dept. of Art Education. Includes bibliographical references (p. 236-246).

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Gyekis, Elody Eberly Rosa A. "Community murals as processes of collaborative engagement case studies in urban and rural Pennsylvania /." [University Park, Pa.] : Pennsylvania State University, 2009. http://honors.libraries.psu.edu/theses/approved/WorldWideIndex/EHT-15/index.html.

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Ulenberg, Phillippa. "The Community Arts Service: History and Social Context." The University of Waikato, 2009. http://hdl.handle.net/10289/2802.

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The Community Arts Service (CAS, 1946-1966), founded after World War Two, took tours of music, drama, opera, dance and art exhibitions to smaller centres and isolated rural areas throughout New Zealand, fostering the cultural activities undertaken by local groups. From the Auckland University College, where it originated as a branch of Adult Education, it spread to the other University College provinces and, beyond New Zealand, to Australia. As Adult Education, CAS programmes emphasised educational value and aimed to develop the tastes and level of culture in the participating communities. The Service operated through local CAS committees, encouraging rural centres to take increasing responsibility for the cultural life of their own communities. Following World War Two, themes of nationalism, decentralisation of culture and correcting the imbalances that existed between rural and urban life so as to create a more egalitarian society, were key issues in New Zealand. The CAS played a significant role in redressing these concerns but to date, have received little critical attention. This thesis, which examines the important role of the Service in the musical and artistic life of twentieth century New Zealand, is an original contribution to the cultural history of this country. Main documentary research sources consulted were regional histories, publications on New Zealand music, theatre, ballet, opera and journals on the arts from the period. Diaries, correspondence, local cultural societies' documentation and programmes of past concerts held in private collections have been valuable. The archival material for Arthur Owen Jensen and Ronald Graeme Dellow (Alexander Turnbull Library) and, the records of Auckland Adult Education (University of Auckland, Special Collections) have been a significant help. People who were involved with the CAS have generously contributed through interviews and correspondence. Newspaper cuttings in private collections and past issues of the Waikato Times held in the Hamilton Public Library have also been important sources.

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Keith, Karin. "Promoting Community in the English Language Arts Classroom." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1010.

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Lenz, Elsa. "COMMUNITY CONNECTIONS: OPENING RELATIONAL AND DIALOGICAL SPACE IN ARTS ORGANIZATIONS THROUGH COMMUNITY OUTREACH." Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1139%5F1%5Fm.pdf&type=application/pdf.

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Booher, Amanda Beth. "Investigating the Relationship Between Community Arts Engagements and College Students? Sense of Community." Thesis, North Dakota State University, 2020. https://hdl.handle.net/10365/31780.

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This study builds upon Astin?s (2012) Input-Environment-Output conceptual framework to determine the relationship between college students (inputs), their frequency of participation in arts engagements (environment), and their sense of community (outputs), as measured by McMillan, Peterson, and Speers? (2008) Brief Sense of Community Scale. A survey was administered to 403 college students from one mid-sized public research university in the upper Midwest region in early spring 2020. Results indicated the most frequently attended arts engagements for college students were festivals and concerts, and the least frequently reported were galas or art receptions and creative workshops. Findings also indicated a relationship exists between frequency of arts engagements and sense of community, with higher levels of arts engagements associated with higher levels of sense of community. Implications of these results for universities, community arts partners, and college students are discussed.

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Carrington, Amy. "EXPLORING ARTS ORGANIZATIONS AS A CATALYST FOR COMMUNITY DEVELOPMENT." UKnowledge, 2010. http://uknowledge.uky.edu/gradschool_theses/24.

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The purpose of this project was to examine the arts as a positive change agent for community development. Exploring how and for what purpose nonprofit arts organizations can create social capital can provide insight on how the arts industry can be a leader in the transformation of communities and regions around the globe. The perspectives of artists, community developers, sponsors and beneficiaries of the arts provided insight on how and in what ways the arts can evoke change by building connections and inspiring participation. Community development theorist Bhattacharyya (2004) distinguished community development from related fields such as economic development and social work by highlighting its ability to build solidarity and create agency. For Bhattacharyya, solidarity means trust and relationships where community members can work together for change. Once united for a cause, agency means the implementation of the group's goals. To explore the multiple ways which the arts can inform community development change for leaders, two case studies were conducted. Insights came from data collected for each case through key informant interviews and organizational website analysis.

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Richardson, Erin. "An Affordable Living Community." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2138.

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Beginning with a former grocery store building, “An Affordable Living Community,” explores the possibilities of redesigning big box buildings. Here, the building is transformed into an affordable living community - a place for people to live, work, learn, and interact. The renovation creates a place for not only its residents, but also the surrounding neighborhoods. The building provides the challenges of breaking the generic, window-less facade, as well as bringing light into the building. This model would encourage the health, learning, and support of its community.

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Jones, Cilvia. "Hotel + Urban Community Interwoven." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1780.

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Infusion is a gallery hotel that seeks to promote and encourage interaction between the local people of the community and traveling guests. More than just a hotel for rest and relaxation, Infusion will display a public gallery making art the universal language for their guests and the locals.

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Gosse, Ann. "Towards a new understanding of community arts : 1960-2000." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272090.

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Krumheuer, Aaron Taylor. "LAVALAND ZINE: Community Writing and the Arts in Athens." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340130693.

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Smith, Katherine K. "A Phenomenological Study of Aesthetic Experience Within an Arts Council's Events and Programs: Finding Joy, Expression, Connection, and Public Good in the Arts." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1479423181791095.

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Tartoni, Nicole M. "ART WORKS the creation of a contemporary art center in Johnstown, Pennsylvania /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1179760479.

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Butler, Caitlin M. "When An Arts Administrator Becomes an Evaluator: Perspectives from Arts Education Program Managers." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306511403.

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Lee, Kiu-sim Mabel. "Return culture to life : home. studio. community reformulation /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949718.

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Clifford, Sally Margaret. "Why have you drawn a wolf so badly? : community arts in healthcare." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/35893/1/35893_Clifford_1997.pdf.

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Community arts is often criticised for its tendency to be more about welfare than art. This thesis investigates this claim through the environment of a growing number of arts projects taking place in healthcare settings. Healthcare settings inherently deal with the field of welfare. This research has recognised that many of these projects are participation-based community arts projects. I have termed these projects arts-inhealth and they form the case studies of this research. Arts-in-health is not art therapy. Arts-in-health is a community arts-based approach to artmaking which enables people to access art processes and skills which are not part of the treatment or diagnosis of their illness. This thesis recognises that people belong to a communal web of relationships which can often be severed when they become ill. Because arts-in-health encourages artmaking beyond a treatment framework, it can re-connect people to their communal web. is thesis claims that for community art to have this impact it must be designed and implemented through artistic processes and not treatment, therapeutic or clinical ones. If community art processes do become distorted by therapeutic processes, they will become more about welfare and less about art; consequently, they contribute less to the community in which individuals live.

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Jarvis, Joleigh S. "A report on an Arts Administration internship marketing The Arts Center at Okaloosa-Walton Community College." ScholarWorks@UNO, 2001. http://scholarworks.uno.edu/aa_rpts/97.

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This report is a description of a three-month internship from May 21, 2001 through August 21, 2001 which began as an assignment with The Northwest Florida Symphony Orchestra. The NFSO operates under the auspices of Okaloosa-Walton Community College and resides along side the college's Division of Humanities, Fine, & Performing Arts and within The Arts Center facility. My position as an NFSO intern was to be the operations manager in charge of marketing and preparation for the 200 1-2002 season.

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Wright, Claire Louisa. "Arts evaluation and the transformative power of the arts : a visual ethnography of transformative learning in a collaborative community (arts) film." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9831.

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Arts organisations in receipt of public funding should seek to understand the impact of their work, for a variety of reasons. Contemporary outcome-based arts evaluation practice dichotomises impact as intrinsic or instrumental with the latter perspective defining what counts. However, a widely held belief in the transformative power of the arts is apparent in both arts policy and practice. It therefore follows that if evaluation is fundamentally about discerning value then arts evaluation should recognise transformation as core. I contend that visually-based research methods offer alternative ways of seeing and knowing from the methods that dominate arts evaluation practice. As a result, I consider how these methods might help to identify what is transformative within the context of a community arts project. To explore how evaluation can better reflect the transformative power of the arts, I ask three research questions. Firstly, can participants’ experience be theorised and understood as transformative arts-based learning? Secondly, to what extent can participants’ experience of a community arts project be understood through visually-based research methods? Thirdly, what are the implications for existing practices of arts evaluation? I explore these questions in relation to a single participatory arts project. The Happy Lands, funded (primarily) by Creative Scotland, brought together communities across Fife with a professional film crew to create a feature length film based on local stories of mining culture. Employing visual ethnography my research methods included image-elicited interviews with 19 participants over a 20 month period, participant observation during the making of the film, and documentary research. The theoretical contribution I make extends Morgan’s (2010) conception of the transformative potential of travel to the transformative power of the arts, which I define in terms of inspiration, interconnection and insight. I propose a conceptual framework that views the experience of ‘sameness’ (interconnection) and ‘Otherness’ (inspiration) as conducive to the possibility of voice (insight). The interaction of self, other and artwork in the context of the participatory (community) arts project leads to the creation of shared identity (identities) and a sense of belonging manifest in the symbolic status of objects and behaviour (‘spirit of place’) associated with the arts project. Visual research methods, combining subjective meaning-making and objective (representational) qualities, offer opportunities to understand and (re)present participants’ experience. I advance a methodological contribution that suggests image elicitation offers an epistemologically appropriate approach to understanding participant experiences of an inherently visual project. The identification of sense of place and spirit of place can be viewed as indicative of a transformative environment. I contend that the creation of an outcome acknowledging the transformative environment of the arts project would respond to the needs of government but also the beliefs of arts educators effectively redressing the balance of instrumental versus intrinsic worth. Moreover, the subjective and objective possibilities afforded by visually-based research methods would enable the latter to speak creatively, in language(s) reflecting their values. As a result my findings are offered as one possible version of a humanities-inspired approach to arts evaluation (Belfiore and Bennett, 2010b).

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Pinkett, Randal D. (Randal Dike) 1971. "Creating community connections : sociocultural constructionism and an asset-based approach to community technology and community building." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/28241.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2002.
Includes bibliographical references (p. 321-329).
(cont.) Through this lens, I examine the early results of the project in the areas of community social capital and community cultural capital, based on quantitative and qualitative data resulting from direct observation, surveys, interviews, server logs, and case studies. These findings included expanded local ties, a heightened awareness of community resources, improved communication and information flow at the development, and a positive shift in participants' attitudes and perceptions of themselves as learners. Finally, based on these and other findings, I discuss the challenges and opportunities of a sociocultural constructionist and asset-based approach, presents lessons learned, and offers recommendations for future community technology and community building initiatives.
The intersection between community technology programs seeking to close the "digital divide," and community building efforts aimed at alleviating poverty, holds tremendous possibilities, as both domains seek to empower individuals and families, and improve their overall community. Ironically, approaches that combine these areas have received very little attention in theory and practice. As community technology and community building initiatives move toward greater synergy, there is a great deal to be learned regarding how they can be mutually supportive, rather than mutually exclusive. This thesis sheds light on the possibilities inhered at this nexus. The project that constitutes the basis for this thesis is the Camfield Estates-MIT Creating Community Connections Project, an ongoing effort at Camfield Estates, a predominantly African-American, low- to moderate-income housing development. As part of this project, we worked with residents to establish a technological infrastructure by offering every family a new computer, software, and high-speed Internet connection, along with comprehensive courses and a web-based, community building system, the Creating Community Connections (C3) System, that I have co-designed. The project combined these elements in an effort to achieve a social and cultural resonance that integrated both community technology and community building by leveraging indigenous assets instead of perceived needs. In relation to this work, I have developed the theoretical framework of sociocultural constructionism and an asset-based approach to community technology and community building.
by Randal D. Pinkett.
Ph.D.

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Jones, Jeannie. "Rose Herbert Community Center." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2139.

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The “Rose Herbert Community Center” is the culmination of a project questioning how a building can be restored to its original integrity when its initial function has become extinct. This thesis considers the Broad Street Station in Richmond, Virginia and explores the options and implications of returning the building to a hub of interaction within the community. Concepts such as functionally malleable spaces, the transition from a very public environment to a more private area, and the creation of intentional interaction versus coexistence are explored.

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Thomas, Katherine M. "WS 1207 Community Workshops." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1289.

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For my thesis, I have chosen to adapt the abandoned office/warehouse at 1207 North Boulevard for use as a community workshop for all of Richmond's urban neighborhoods. The community workshop's focus will be to provide open workshops, classes, a resource library and design consultation to low and middle income homeowners, affordable housing properties, and community parks. In addition, the center welcomes all of Richmond city residents to join and partake in 1207's resources in order to grow a multi-faceted community focused on improving the lives of all of Richmond City's residents. The center will function as a gathering space for all urban residents and will promote both the individual and the community through a Do It Yourself' approach to home design and care that will instill pride and self reliance to all members of the community.

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Partheni, Chrissy. "An analysis of community arts in Britain in the 1990s." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243393.

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Alldred, Sarah Ruth. "Community arts as a tool for reconciliation in Northern Ireland." Thesis, Coventry University, 2003. http://curve.coventry.ac.uk/open/items/28d74c6a-fdde-81bb-dd05-04db2fade381/1.

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The thirty years of sectarian violence between the Catholic and Protestant communities (known as the Troubles), left the Northern Ireland society deeply suspicious of the 'other'. Since the sighing of the Good Friday Agreement in 1998, Northern Ireland has moved through a tentative peace process. At the time of writing the issues that hold the peace process in stasis include the decommissioning of paramilitary weapons and policing. Similarly the release of political prisoners as part of the Good Friday Agreement has been a difficult reality to face foa significant number of victims of sectarian violence. During the Troubles two approaches prevailed in attempting to reconcile tohe two main communities iand bring an end to the conflict. These were the structural approach and the cultural approach. The structural approach saw the roots of the Northern Ireland conflict as lying within its institutional frameworksand looked for ways to address this. Alternately, the cultural approach saw hat thte conflict was sustained through the belief systems of the two main communities, with the perpetuation of thnegative myths about the 'other'. Resolution of the conflict was seen to be possible by challenging these belief systems through either cross-community work, which brought together Cathoics and Protestants in face to face meetings, or community developemtn work, which focussed on single identity work, empowering the identites of each community so that the two main communities could come together as equals,. It was generally acknowledged that the structural and cultural approaches nneded to be used in tandem, in the effort to reconcile the two main communities. The thesis focuses particularly on the cultural approach, by examining what role, if any, community arts played in reconsiling the two main communities in Norther Ireland between 2001 and 2002, four years af the signing of the Good Friday Agreement. The assumptions that informed this research were: i) reconciliation, the restoration of relationships, can be facilitated through the creation of a safe environment wherein people can express their stories of living through a period of violent conflict, to and with one another, in a non-threatening space; ii) community arts can assist in the creation of these safe spaces by producing opportunities for people to create and express these stories in different and less threatening ways. In examining the role of community arts, the thesis highlights three approaches community arts organisations adopted in their work: an arts for arts sake approach, a cross-community approach and a community development approach. By using these approaches, the thesis shows that whilst community arts has helped in a significant number of ways, a large number of people in Northern Ireland have not been ready to talk about reconciliation, and significant sections of the Protestnant community have been reluctant to engage in community arts activities, both within their own community and with members of the Catholic community.

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Govan, Christine Noble 1958. "Gathering the landscape : a community arts center on Lookout Mountain." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/79000.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.
Includes bibliographical references (p. 48).
With a tape measure and a pad of newsprint, to document, understand and re-present a natural place was the first goal of this thesis. From this understanding a new built presence, a redefinition of the site, is sought, to gather its essential properties and bring them close. This thesis aims at achieving a continuity of experience between the built and the natural, at achieving new transformative readings of each, in which one order is juxtaposed against and ·thereby defines the other. Focusing on the exchange between these two worlds, explorations are made into levels of built and unbuilt, into where, how, and how much to transform what was there. Through this interplay of inside and outside, built and natural, permanent and transitory, the intention is to bring to people a new awareness and sense of belonging to the site, of the dynamics of natural forces, and of their specific location in the context of these larger orders. For ultimately, all architecture is an infill project relative to the earth. It is our connection to this outer world upon which our sense of belonging depends.
by Christine Noble Govan.
M.Arch.

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Verseput, Lisa. "The creative conservatory : a community media & creative arts centre." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60215.

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Johannesburg was built on the discovery and exploitation of gold, but the gold mines are depleted, and a new resource is driving the city: human capital. The ingenuity and aspirations of the dense and diverse population sustain Johannesburg as the economic capital of the country, but the City has lost its golden meaning and is striving for a new identity: to become the Cultural Capital of South Africa, an embodiment of diversity, creativity, and cultural expression. People and cultures of the City mix and spark ideas in public space, so Joubert Park, the central, largest, and oldest park in Johannesburg and home to the Johannesburg Art Gallery, should play a role in Johannesburg's transformation into the Cultural Capital. The Joubert Park Conservatory is a century old ornamental greenhouse, once spectacular, it now lies abandoned and in disrepair. The Conservatory and its precinct currently provides no significant contribution to the public of Joubert Park, but its iconic design and position indicate its potential to be rediscovered as an important public space. This dissertation investigates how spatial interventions can be mobilised to re-establish the forgotten significance of the site, and introduce a programme that will respect and enhance the heritage of the Conservatory and its cultural landscape to contribute to Joubert Park as well as the greater urban environment as the Cultural Capital. The proposed programme is the Creative Conservatory (CC), a community media and arts centre driving universal media accessibility and providing an enabling environment for the cultivation of artistic and cultural expression and development. The CC serves the community, mobilising the arts for social and economic development, thus supporting the creative economy and cultural landscape of Johannesburg. The architectural intervention of the CC is designed for the present, while inspired by and responding to heritage, so as to create places that will remain relevant in the future.
Johannesburg is gebou op die ontdekking en ontginning van goud, maar goud resereves loop nou leeg en 'n nuwe hulpbron kan die stad vorentoe dryf: menslike kapitaal. Die kreatiwiteit en aspirasies van 'n diverse bevolking onderhou Johannesburg as die ekonomiese spilpunt van die land, maar die stad het sy goue betekinis verloor en streef nou na 'n nuwe identiteit: om die Kulturele Hoofstad van Suid Afrika te word - 'n vergestalt diversiteit, kreatiwiteit en kulturele uitdrukking. Mense en kulture in die stad meng en nuwe idees word in publieke ruimtes gegenereer. Joubert Park is die stad se grootste en oudste park en huisves die Johannesburg Kunsgallery, hierdie ruimte kan 'n belangrike rol speek in die stad se transformasie na kulturele kapitaal. Die Joubert Park Konservatorium is 'n eeu-oue en eens indrukwekkended onrnamentele kweekhuis, nou verlate en onversorgd. Die Konservatorium en sy omliggende ruimtes dra nie tot die park by nie, maar sy ikoniese form en posisie hou potensiaal in wat herontdek kan word as 'n publieke ruimte van belang. Hierdie verhandeling ondersoek hoe ruimtelike veranderinge gebruik kan word om die vergete waarde van die terrein te herstel. 'n Nuwe program wat die erfenis van die terrein repspekteer kan dit terselfdetyd verbeter om as kulturele landskap by te dra tot Joubert Park en tot die stedelike omgewing daarom by te dra as kulturale kapitaal. Die program wat voorgestel word is die Kreatiewe Konservatorium, 'n gemeenskapsentrum vir media en kuns wat universele media toegang dryf en 'n omgewing skep vir die kultivasie van kuns en kulturele ontwikkeling en uitdrukking. Die Kreatiewe Konservatorium bedien die gemeenskap en mobiliseer die kunste ten einde sosiale en ekonomiese ontwikkeling te bewerkstellig en soedoende die kreatiewe ekonomie en kulturele landskap van Johannesburg te ondersteun. Die projek is ontwerp vir die hede, ge?nspireer deur en in reaksie tot erfenis, om plekke te skep wat relevant sal bly in die toekoms.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2016.
Architecture
MArch (Prof)
Unrestricted

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Pedraza, Jennifer E. A. "Assessment of “Community Stepping Stones,” a Community-Based Youth Art Education Program." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3613.

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Community Stepping Stones is an art education program whose objective is to “provide education, mentor children and adolescents, enhance the community economics, and enrich the quality of life in the community” (Community Steppping Stones [CSS], 2009a). Community art education programs, particularly for youth, have become increasingly popular as a way to address and prevent delinquent behavior. However, art education programs have proven challenging to evaluate and sustain. The goal of my thesis was to explore how Community Stepping Stones implemented and evaluated a community-based youth arts education program compared to other, similar programs and how the organization could make the program more effective and more sustainable long-term. As part of an internship with Community Stepping Stones, I conducted participant observation, document review, and interviews with individuals affiliated with Community Stepping Stones and other art education programs in the community. Data was collected between February 2009 and September 2010.Community Stepping Stones has grown significantly during my involvement with the organization, expanding funding, programming, and staff. Current efforts to reinforce evaluation measures and secure additional funding sources will help make the program more sustainable in the future. Additional efforts towards collaboration with other community and government organizations, increased community involvement, and better program organization will also be beneficial towards sustainability efforts. At this time, published evaluations of community-based youth art education programs and organizational impact on youth and community are limited. Although not a comprehensive assessment, I hope my research can help bolster the literature in this area.

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McCarron, Robyn Janelle. "Performing arts and regional communities : the case of Bunbury, Western Australia /." Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050501.153348.

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Garland, Vaughn. "Participation in the Digital Public: New Media Art as Online Community." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/561.

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Participation in The Digital Public: New Media Art as Online Community examines community online art projects— works of art produced and orchestrated by artists who employ the interconnected and participatory nature of the Internet. Garland contends, in part through a reevaluation of a statement made by artist Nam June Paik concerning a radio performance by John Cage, that community online art projects exist as the newest example of new media art because of a utilization and implementation of established and functioning technology. Through the application of Internet technology, contemporary artists, along with their collaborators and spectators, have the potential to create, build, engage, and exhibit new works of art and form new concepts for the production and practice of art making. This dissertation maintains that Community online art projects serve as the most current example of new media art because they examine the shared uses of the Internet. Participation in The Digital Public: New Media Art as Online Community includes examples and critiques of new online artworks as well as historical analysis of the theories of new media, participation, interconnectivity, and remediation in art through the 20th century.

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Thomas, Mark P. "Schuylkill County Community Chorus promotional video." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1989. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S.)--Kutztown University, 1989.
Source: Masters Abstracts International, Volume: 45-06, page: 2722. Abstract follows appendices. Typescript. Includes bibliographical references (leaves 50-51).

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Fritz, Doug III. "Community data portraiture : perceiving events, people, & ideas within a research community." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/62133.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 72-73).
As a research community grows, it is becoming increasingly difficult to understand its dynamics, its history, and the varying perspectives with which that history is interpreted and remembered. This thesis focuses on three major components of research communities: events, people, and ideas. Within each of those components exploring how to construct and answer questions to improve connectivity and elucidate relationships for community members. Assuming the artifacts of a community (its publications, projects, etc) model a representation of its nature, we apply a variety of visualization and natural language processing techniques to those artifacts to produce a community data portrait. The goal of said portrait is to provide a compressed representation viable for consumption by a new researcher to learn about the community they are entering, or for a current member to reflect on the community's behavior and help construct future goals. Rather than evaluating a general technique, the tools and methods were developed specifically for the MIT Media Lab community, general principles can then be abstracted from this initial practical application.
by Doug Fritz.
S.M.

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Gibson, Susan Elizabeth. "An arts community for the Logan Circle neighborhood in Washington, D.C." College Park, Md., : University of Maryland, 2004. http://hdl.handle.net/1903/2309.

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Thesis (M. Arch.) -- University of Maryland, College Park, 2004.
Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Realista, Katy. "Community college performing arts students perceptions of persistence| A phenomenological study." Thesis, California State University, Fullerton, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3575410.

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An issue faced by community colleges is the time to completion for student success as defined by obtaining a degree, certificate or transfer to a four-year institution. Issues not addressed in the research are the effects on persistence of the time needed to acquire the performing arts skills, the probable occurrence of student over engagement, and the student's definition of success and their perception of a delayed time to degree. There exists a population of community college performing arts students who continue to persist into their fourth year and beyond after accumulating the units needed to complete an associate arts degree or certificate.

Using a phenomenological approach, this qualitative study explored the perceptions and experiences of community college performing arts students on their reasons for continued persistence in community college. Semi-structured interviews were used to elucidate themes and to discern the motives of why these students continue to persist. It was discovered that the participants created their own individual definitions of student success and designed personalized academic pathways to obtain that success. It appeared that the acquisition of skills, the building of resumes, and networking were major reasons for the student's continued persistence. And, although the completion of a degree was asserted as important, it was not critical in a majority of their definitions of success. In addition, participants admitted to spending a great deal of time in pursuit of the arts.

Recommendations were made to implement counselors with specialized training in the needs of performing arts students to mitigate unnecessary persistence, to realign curriculum and programs within the arts as needed (a) to address repeatability issues and to (b) build relationships with local professional arts organizations, and to strengthen the profile of the performing arts as an accepted academic discipline to better align the arts with college missions. Further research is needed in the performing arts as well as in the community colleges to continue to build the body of literature in these areas. A final recommendation was for the policy makers to strengthen institutions by broadening their definition of student success to include the voices of the students.

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Raw, Anni Eleanor. "A model and theory of community-based arts and health practice." Thesis, Durham University, 2013. http://etheses.dur.ac.uk/7774/.

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This thesis is an ethnographic study of the dynamic world of a hidden arts and health practice. Throughout the UK, and internationally, artists are engaged to work collaboratively with community groups, in creative initiatives seeking positive outcomes for participants’ health and wellbeing. Their practice is informal in character, with no unified identity or agreed parameters; instead responsive individuality in methods, manifest in the idiosyncratic creative voices of practitioners, is much celebrated. However elusive, improvised or plan-resistant the mechanisms behind the work, such projects continue to be resourced, constituting a paradoxically unregulated phenomenon in a customarily risk-averse health and care context. Investigating the inner workings of expert participatory arts practitioners’ methods, the thesis asks whether shared elements can be identified, forming a coherent model that characterises and unifies this work. Noting the value of exploring two entirely discreet settings, with field sites across Northern England as well as across Mexico City, I use international comparison to investigate whether the practice furthermore displays commonalities that transcend national contextual differences. Despite significant diversity in settings and art forms, and in practitioners’ backgrounds, the study finds recurrent commonalities in the methodologies engaged. The thesis articulates these findings as a coherent practice model, comprising elements recognisable amongst all practitioners in the study. Observing shared characteristics in practitioners’ intuitive strategies for catalysing change, through the use of generic creative mechanisms including subversive playfulness, risk, and suspension of disbelief, I theorise the practice model using an anthropological lens of secular ritual. Artists’ processes suggest they open up ‘liminal’ spaces in which participants can rehearse fresh ways of being themselves, and engage in transformative reflection on their everyday realities. This discovery of a breadth of practitioners, whose intuitive practice transcends boundaries in artform, context and national identity, is discussed here as an emergent, ‘cosmopolitan’ community of practice.

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Helmstetter, Amber Leigh, and Allison Patch. "Attachment, Empathy, and Mentorship in a Community Arts Workshop with Adolescents." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/40.

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The principal objective of this paper is to explore attachment, empathy, and mentorship in a group of adolescents that participated in an art therapy based workshop. The premise for research formed when researchers participated in the week long Summer Arts Workshop (SAW) with Latino youth from a lower SES area in Los Angeles. Through the theoretical lens of attachment researchers inquired if participating in this workshop contributed to a corrective emotional experience due to the relationships with both peer and adult mentors. Utilizing the methodology of a focus group we collected data with an art therapy based directive, which aimed to uncover the impact the workshop had on the lives of four individuals who participated in the workshop each year. After the data was analyzed researchers found that SAW contributed to prosocial behavior by way of healthy attachment and increased empathic understanding. This paper supports ways community art outreach may prove to be a reparative experience for adolescents. This study may offer understandings to both therapists and educators interested in helping at-risk youth. Findings may support research indicating the artistic process enhances empathic understanding and healthy relationships with peers and adults.

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Kasat, Pilar. "Community arts and cultural development: A powerful tool for social transformation." Thesis, Kasat, Pilar (2013) Community arts and cultural development: A powerful tool for social transformation. Masters by Research thesis, Murdoch University, 2013. https://researchrepository.murdoch.edu.au/id/eprint/20482/.

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Community arts and cultural development is a collaborative process between artists and community whereby direct participation in art making is as important as the creative outcomes. Worldwide, community arts theory and practice has been linked to civil and human rights advocates, most notably Paulo Freire and Augusto Boal. In Australia, research into community arts highlights the social benefits of the practice and the role that government has had in its evolution. There is however very little research that focuses on understanding how the process of community arts and cultural development unfolds in communities, especially when working with disadvantaged groups. This thesis addresses this research gap by examining the practice of a leading community arts organisation in Western Australia, the Community Arts Network WA (CAN WA). Through the use of case studies, framed by critical ethnography and reflective practice, the thesis illuminates CAN WA’s community arts practice and highlights its outcomes for individuals and communities. The thesis research reveals how CAN WA’s practice embedded values and principles that were fundamental to building relationships and gaining trust with Aboriginal communities. The research finds that community arts and cultural development practice is a powerful vehicle for marginalised voices to tell their own stories and in doing so the process has social transformative qualities for individuals and communities. At the individual level, practitioners, participants, and community members report increased cultural competencies and awareness, articulation of hope, healing, enhanced artistic skills and a renewed sense of possibilities. At a community level, there is evidence of strengthened cultural identity, having fun and improved social interactions amongst groups. This thesis is an example of reflective research that contributes to a deeper understanding of community arts practice from a practitioner’s standpoint. The thesis suggests that community arts and cultural development practice can be better understood as a tool for social transformation when recognised as a continuum from interpretative to transformative practice and when set against theories of empowerment and liberation.

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Dissertations / Theses on the topic 'Community Arts'

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