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Journal articles on the topic 'Community Arts'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Moon, Seungho. "The ARtS Community Without Community." SAGE Open 6, no. 3 (August 16, 2016): 215824401666477. http://dx.doi.org/10.1177/2158244016664772.

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2

Fensham, Rachel. "(Post) community arts?" Continuum 8, no. 2 (January 1994): 188–95. http://dx.doi.org/10.1080/10304319409365674.

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3

Sanoff, Henry. "Community arts facilities." Design Studies 9, no. 1 (January 1988): 25–39. http://dx.doi.org/10.1016/0142-694x(88)90024-5.

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4

Martínez, Max. "Guadalupe Cultural Arts Center: A community arts success." New Directions for Philanthropic Fundraising 1993, no. 1 (1993): 23–36. http://dx.doi.org/10.1002/pf.41219930105.

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5

Rademaker, Linnea L. "An Arts Advocacy Group Performs Community Arts Education: Community Development with Implications for K-12 Arts Education Policymaking." Arts Education Policy Review 108, no. 3 (January 2007): 25–33. http://dx.doi.org/10.3200/aepr.108.3.25-34.

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6

Drury, Martin. "Community Arts: Defined but Denied." Irish Review (1986-), no. 11 (1991): 99. http://dx.doi.org/10.2307/29735623.

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7

Arnold, Alice. "Building Community through Arts Experiences." Art Education 47, no. 3 (May 1994): 47. http://dx.doi.org/10.2307/3193476.

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8

van Robbroeck, Lize. "The Ideology of Community Arts." de arte 27, no. 46 (September 1992): 49–57. http://dx.doi.org/10.1080/00043389.1992.11761150.

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9

Smith, Matt. "Puppetry as Community Arts Practice." Journal of Arts and Communities 1, no. 1 (March 1, 2009): 69–78. http://dx.doi.org/10.1386/jaac.1.1.69_1.

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10

Ottenberg, Simon, Herbert M. Cole, and Chike C. Aniakor. "Igbo Arts: Community and Cosmos." African Arts 18, no. 3 (May 1985): 17. http://dx.doi.org/10.2307/3336349.

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11

Nunley, John. "Igbo Arts: Community and Cosmos." African Arts 18, no. 3 (May 1985): 96. http://dx.doi.org/10.2307/3336368.

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12

Rowsell, Jennifer, and Peter Vietgen. "Embracing the unknown in community arts zone visual arts." Pedagogies: An International Journal 12, no. 1 (January 2, 2017): 90–107. http://dx.doi.org/10.1080/1554480x.2017.1283996.

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13

Purcell, R. "Images for change: community development, community arts and photography." Community Development Journal 44, no. 1 (July 30, 2007): 111–22. http://dx.doi.org/10.1093/cdj/bsm031.

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14

Stein, Catherine H., and David A. Faigin. "Community-Based Arts Initiatives: Exploring the Science of the Arts." American Journal of Community Psychology 55, no. 1-2 (January 14, 2015): 70–73. http://dx.doi.org/10.1007/s10464-014-9698-3.

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15

Sellers-Young, Barbara. "Arts, Artistic Process and the Community." International Journal of the Arts in Society: Annual Review 6, no. 2 (2011): 65–74. http://dx.doi.org/10.18848/1833-1866/cgp/v06i02/36007.

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16

quest, seeley. "Crip, Arts: Community Trajectories and Agendas." Canadian Theatre Review 190 (April 1, 2022): 60–63. http://dx.doi.org/10.3138/ctr.190.013.

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The author reflects on hir coming to identify as physically and cognitively disabled, making performance work concerning these identities and communities, the influence of Sins Invalid’s projects, challenges of securing arts funding while immigrating to Canada, and the activisms of developing disability-centred arts in smaller cities, of bridging ‘professional’ and ‘community arts,’ of increased training for disabled theatremakers onstage and offstage, and of amplifying improvements in working conditions industry-wide. Sie also discusses challenging paradigms of disabled relationships to desire and consent, of simplified narratives and conventional modes of staging our theatre, and hir goals for prioritizing work co-developed in local communities that experiments and explores.
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17

Morris, Christine Ballengee. "Paulo Freire: Community-Based Arts Education." Journal of Thought 43, no. 1-2 (2008): 55. http://dx.doi.org/10.2307/jthought.43.1-2.55.

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18

Dreeszen, Craig. "Intersections: Community Arts and Education Collaborations." Journal of Arts Management, Law, and Society 22, no. 3 (September 1992): 211–39. http://dx.doi.org/10.1080/10632921.1992.9944405.

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19

Swan, Peter. "Promoting social inclusion through community arts." Mental Health and Social Inclusion 17, no. 1 (February 22, 2013): 19–26. http://dx.doi.org/10.1108/20428301311305278.

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20

Richerson, Julia, Amber Pendleton, and Deborah Winders Davis. "A Community Arts-Based Parent Program." Clinical Pediatrics 56, no. 12 (December 8, 2016): 1135–41. http://dx.doi.org/10.1177/0009922816678819.

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21

Horsford, Ro, Jean Rumbold, Helen Varney, Deborah Morris, Lynette Dungan, and Theresa Van Lith. "Creating community: An arts-based enquiry." Journal of Applied Arts & Health 5, no. 1 (June 1, 2014): 65–81. http://dx.doi.org/10.1386/jaah.5.1.65_1.

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22

Donahue, Stasha. "Beginner’s guide to community-based arts." Community Development 49, no. 2 (February 7, 2018): 248–49. http://dx.doi.org/10.1080/15575330.2018.1434394.

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23

Rogowsky, Edward T. "The arts, artists and community development." National Civic Review 79, no. 3 (May 1990): 277–81. http://dx.doi.org/10.1002/ncr.4100790308.

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24

Carey, P. "Community development through participatory arts: Lessons learned from a community arts and regeneration project in South Liverpool." Community Development Journal 39, no. 2 (April 1, 2004): 123–34. http://dx.doi.org/10.1093/cdj/39.2.123.

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25

Dr. Jansirani, Nirupa S. ,. "ECONOMIC IMPACT OF ARTS EDUCATION IN COMMUNITY." Psychology and Education Journal 58, no. 1 (January 1, 2021): 1787–89. http://dx.doi.org/10.17762/pae.v58i1.1026.

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The open doors for a cutting edge kid or significantly more seasoned understudies to learn Although there are numerous conclusions about what is the issue here, it is additionally simple to see the numerous impacts of workmanship in individuals' regular daily existence. We could also ask what it is to be a person, as to ask what workmanship is ? Craftsmanship stimulatingly affects us, it stirs the faculties, it invigorates the mind, causes us to feel profound feelings and it makes us think in another manner. Workmanship has its impacts too on enthusiastic life as in the psychological and scholarly upgrade. A further meaning of craftsmanship may prompt an explanation that workmanship is accomplishments, items or exercises with which we attempt to alert others to similar encounters, sentiments and feelings that we have survived ourselves. This is normally done by utilizing the faculties to find the core interest. The faculties and tactile, eidetic or sense insight based encounters are in a vital situation to clarify the substance of craftsmanship. A person is constantly looking for a reaching surface to the real world and fact (so to state genuine world) through his own hands, by contacting and by doing assignments by hand. Workmanship is showing a reality in which the individual lives; it intercedes and supplies human encounters and simultaneously it sees the various parts of being a person. Workmanship and expertise subjects broaden the originations about the encompassing scene simultaneously as they offer good, tasteful and moral qualities through close to home encounters these qualities have diminished during that time at school just as in college level training. These qualities are absent in the perspective of numerous youngsters today, as we effectively can see from papers and other media. Some worldwide similar examination has demonstrated unmistakably that the completion educational system is succeeding astoundingly in instructing data
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26

Marshall, Kevin. "Community and Civic Engagement through the Arts." International Journal of the Arts in Society: Annual Review 5, no. 4 (2010): 165–72. http://dx.doi.org/10.18848/1833-1866/cgp/v05i04/35871.

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27

TOSİK DİNÇ, Fadime. "Antalya Community Center Fine Arts Branch Activities." JOURNAL OF HISTORY AND FUTURE 8, no. 2 (June 28, 2022): 462–79. http://dx.doi.org/10.21551/jhf.1128001.

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Mustafa Kemal Atatürk, who was based on the public since the years of the War of Independence, formed the new state he founded in behalf of public, for the interests of public and made the revolutions accordingly.However, after the closure of the Free Republican Party in 1930, the national tour and the Menemen incident led him to see that the revolutions were not adopted by the people and that the clash between the intellectuals and the people continued since the Ottoman Empire, so he had the community centers established on February 19,1932 to explain, make the revolutions adopt and eliminate the intellectal-public clash.The establishment of 9 branches within the community center was also agreed to grow citizens who combine national and universal values in the community centers. These branches were ranked according to the degree of importance given in the instruction and the Fine Arts Branch took its place as the second branch after, Language, Literature and History Branch.Atatürk had this branch established to develop art in these lands which didn’t develop for years, to create interest in art in the public and to protect those who are talented. The Antalya Community Center took its place in the second group among the opened community houses and was opened on June 24, 1932 with its 9 branches. In this article, the music and painting activities of the Antalya Community Center Fine Arts Branch were wanted to be revealed.In the preparation of the study, Republic Archive, Republican People's Party activity reports and brochures, Turkish Mediterranean Magazine issues published by Antalya Community Center, local newspapers and studies were used and the identified works were evaluated by using the document review model, one of the qualitative research methods.
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28

Anderson, Jim, and Yu-Chiao Chung. "Community languages, the arts and transformative pedagogy." Race Equality Teaching 28, no. 3 (September 1, 2010): 16–20. http://dx.doi.org/10.18546/ret.28.3.05.

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29

Bowell, Ian. "Community Arts Projects: Enhancing, Teaching, and Learning." International Journal of Arts Education 8, no. 2 (2014): 43–54. http://dx.doi.org/10.18848/2326-9944/cgp/v08i02/36164.

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30

Awofeso, Niyi, and Renae Fernandez. "RESTORING DIGNITY: COMMUNITY ARTS IN LEPROSY CONTROL." Leprosy Review 82, no. 3 (September 1, 2011): 316–18. http://dx.doi.org/10.47276/lr.82.3.316.

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31

Swan, Peter, and Sarah Atkinson. "Managing evaluation: A community arts organisation's perspective." Arts & Health 4, no. 3 (October 2012): 217–29. http://dx.doi.org/10.1080/17533015.2012.665372.

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32

Woodruff, Graham. "Theatre at Telford Community Arts 1974–90." Research in Drama Education: The Journal of Applied Theatre and Performance 9, no. 1 (March 2004): 29–46. http://dx.doi.org/10.1080/1356978042000185894.

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33

Pulla, Venkat, and Anne Riggs. "Arts and Community Work for Promoting Resilience." International Journal of Social Work and Human Services Practice 3, no. 4 (October 2015): 137–46. http://dx.doi.org/10.13189/ijrh.2015.030402.

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34

Swindells, Rachel, Rebecca Lawthom, Kevin Rowley, Asiya Siddiquee, Amanda Kilroy, and Carolyn Kagan. "Eudaimonic well-being and community arts participation." Perspectives in Public Health 133, no. 1 (January 2013): 60–65. http://dx.doi.org/10.1177/1757913912466948.

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35

Tow, Stephanie, Joslyn Gober, and Maureen R. Nelson. "Adaptive Sports, Arts, Recreation, and Community Engagement." Physical Medicine and Rehabilitation Clinics of North America 31, no. 1 (February 2020): 143–58. http://dx.doi.org/10.1016/j.pmr.2019.09.003.

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36

Khan, Rimi. "Rethinking cultural capital and community-based arts." Journal of Sociology 49, no. 2-3 (May 22, 2013): 357–72. http://dx.doi.org/10.1177/1440783313481745.

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37

Payne, Adam. "The Arts@ Program: The Creation and Impact of an Arts Community at a Specialized Institution." West East Journal of Social Sciences 10, no. 1 (May 23, 2021): 1–14. http://dx.doi.org/10.36739/wejss.2021.v10.i1.42.

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This paper will examine the Arts@ Program, an arts and leadership program run by a director at a specialized institution of higher education in the northeastern United States. This paper offers the opportunity for readers to: 1.) Analyze a community arts program from a leadership perspective; 2.) Examine ways in which leadership, decision-making, and related factors can impact a community arts program; and 3.) Apply concepts of the Arts@ Program toward future virtual programmatic efforts. Key learnings from this paper include the following: 1.) Arts communities provide opportunities for all community members to engage in, build lasting memories from, and benefit from arts-related programmatic efforts, including arts instructors; 2.) Community arts programs have the potential to encourage aspects of self-leadership while also allowing participants to develop a deep, cogent appreciation for the arts; and 3.) Many of the design and delivery aspects of arts programs such as those discussed about the Arts@ Program can be applied toward future programmatic efforts, particularly in virtual formats. Reflections and recommendations for future research are presented.
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38

van der Vaart, Gwenda, Bettina van Hoven, and Paulus P. P. Huigen. "‘It is not only an artist village, it is much more than that’1. The binding and dividing effects of the arts on a community." Community Development Journal 54, no. 3 (November 27, 2017): 446–62. http://dx.doi.org/10.1093/cdj/bsx055.

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Abstract The value of ‘the arts’ in community development is increasingly being recognized. This paper contributes to emerging insights on the various impacts of the arts on communities by highlighting when and how they can have binding and dividing effects on a community. We draw on a participatory research project conducted in Pingjum, a village in the Netherlands that hosts many cultural activities and in which many artists live. We discuss how the arts in Pingjum influence the community in the village. In our discussion, we pay attention to the sense of community that the arts generate, the meeting opportunities they provide and how the community is engaged by some artists. Our study shows that the influence of the arts is context-dependent, with the arts having both binding and dividing effects on the community in Pingjum. In terms of the value of the arts for community development, we emphasize three key issues: that the arts (i) do not have only advantages for a community; (ii) do not engage the entire community; and (iii) could potentially contribute to community fragmentation. Given these issues, we argue that the arts should be considered as one of several supportive means in community development processes. Ideally, they are integrated into a wider community development strategy and planning, and exist alongside other associations and activities in a community. In this way, the arts can contribute to the robustness of a community and assist it in developing the capacity and resources to flourish.
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39

Mitchell, Beverly. "Rebranding the Hamon Arts Library Blog: Seeking Connections within the Arts Community." Art Documentation: Journal of the Art Libraries Society of North America 36, no. 1 (March 2017): 163–71. http://dx.doi.org/10.1086/691379.

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40

Chandrasekaran, S. "Innovative Learning in Arts Education and Community-Based Arts through Life Science." IJAEDU- International E-Journal of Advances in Education 1, no. 2 (August 31, 2015): 84. http://dx.doi.org/10.18768/ijaedu.75758.

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41

Scher, Abby. "Can the arts change the world? The transformative power of community arts." New Directions for Adult and Continuing Education 2007, no. 116 (2007): 3–11. http://dx.doi.org/10.1002/ace.272.

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42

Holler, Timothy J. "Reintegration, Community Building, and Revitalization: An Examination of the Community Arts and Reintegration Project." Prison Journal 99, no. 4_suppl (July 10, 2019): 118S—134S. http://dx.doi.org/10.1177/0032885519861083.

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The Community Arts and Reintegration Project in Westmoreland County, Pennsylvania, is a community and restorative justice–based mural arts program. The program currently utilizes youth probationers in conjunction with community members and organizations to collaboratively cultivate and paint large-scale murals. Murals can develop in response to criminality that occurs in a community or in coordination with revitalization and community building efforts. This article examines the project’s development and implementation efforts following the completion of its first community mural. Lessons learned from the pilot project provide the basis for increasing program fidelity.
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43

Castles, Anthony. "Community Initiated Adaptive Reuse for Culture and the Arts: ‘The Tanks Arts Centre’ Cairns, Australia." eTropic: electronic journal of studies in the tropics 19, no. 2 (December 21, 2020): 119–42. http://dx.doi.org/10.25120/etropic.19.2.2020.3740.

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A group of World War II naval fuel storage tanks strategically located in a tropical rainforest in Cairns, Australia, were adapted for arts and cultural purposes. This paper explores the adaptive reuse of this unusual industrial heritage site. It uses a case study approach to demonstrate how the social and aesthetic values of the place have been conserved and grown, and how these values have interacted to increase community attachment through a community-initiated approach to the site’s reuse. A scoping review and secondary data helped develop the case study and informed semi-structured interview questions for key industry stakeholders. The paper deduces that a community-led bottom-up approach to the reuse of space for arts and culture results in greater community attachment and, as opposed to top-down approaches, allows for continued growth in social and aesthetic value. Nevertheless, ongoing success of community initiatives in most cases is also reliant on the structure of a government-led administration.
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44

Kleijberg, Max, Rebecca Hilton, Beth Maina Ahlberg, and Carol Tishelman. "Play Elements as Mechanisms in Intergenerational Arts Activities to Support Community Engagement with End-of-Life Issues." Healthcare 9, no. 6 (June 19, 2021): 764. http://dx.doi.org/10.3390/healthcare9060764.

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Talking about dying, death, and loss may be difficult. Arts offer alternative ways of engaging with end-of-life (EoL) issues, but little is known about the means through which this occurs. In this article, we aim to explore mechanisms in arts activities that support community engagement with EoL issues, based on the community-based participatory action research project Studio DöBra. Studio DöBra was developed to support community engagement with EoL issues through intergenerational arts workshops involving community partners, children, and older adults. Initial analysis with community partners indicated the importance of play elements in arts activities. Continued analysis was therefore abductive, using play theory and qualitative data from Studio DöBra arts activities. Through iterative examination of theory and data, we modified play theory as we identified mechanisms supporting community engagement with EoL issues in arts activities. Findings can contribute to theory-building that can inform arts activities supporting community engagement with EoL issues.
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45

Cumbie,, Sharon Ann, and Cynthia L. Quick,. "Cooperative Community Action: Using the Arts to Create a Community of Caring." International Journal of Human Caring 9, no. 1 (February 2005): 16–23. http://dx.doi.org/10.20467/1091-5710.9.1.16.

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46

Kwon, Su-Bin. "Implication of Solidarity and Locality in Practice Community - Focused on Community Arts." JOURNAL OF LOCALITOLOGY 15 (April 30, 2016): 269. http://dx.doi.org/10.15299/tjl.2016.4.15.269.

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47

Power, Ian. "REFLECTIONS ON TEACHING COMPOSITION FOR CONFIDENCE, EQUITY AND COMMUNITY." Tempo 76, no. 302 (September 29, 2022): 61–70. http://dx.doi.org/10.1017/s0040298222000353.

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AbstractThe increasing precarity of arts academic jobs, combined with a much needed focus on equity and decolonisation, are de-privileging and destabilising the experimental music tradition and contemporary composer identity. As a result, composition departments are pursuing a paradox: scrambling to focus on specific marketable skills while also broadening the genres taught. After teaching in a composition department, a generalised arts department and a prison college programme, I describe methods to provide skills training for students interested in different genres, even if those genres are not the specialty of a department's faculty. These include: (1) discrete ‘levels’ of creative thought, from high-level questions of art's purpose to ground-level skills training; (2) creative process assignments, in which students plan and document their way through a prompt, developing a practical discipline into which desired skills can be incorporated; and (3) formal spaces for students to learn from each other, one-on-one, getting deeper into the similarities and differences they have. The goal is to empower students not simply via marketability, but by developing a sense of vocation without tethering creativity to employment, so that students may more realistically and more potently design their own lives in music.
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48

Mulligan, Martin, Christopher Scanlon, and Nicky Welch. "Renegotiating Community Life: Arts, agency, inclusion and wellbeing." Gateways: International Journal of Community Research and Engagement 1 (September 29, 2008): 48–72. http://dx.doi.org/10.5130/ijcre.v1i0.591.

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AAs part of a broader emphasis on addressing the ‘social determinants’ of health and wellbeing, health promotion agencies in Australia and elsewhere have increasingly turned to arts participation as a strategy for reducing social isolation. However, research on the relationships between arts participation and its outcomes in terms of individual and community wellbeing has been undermined by conceptual and methodological weaknesses in the studies conducted hitherto. This paper presents some of the findings emerging from a broadly conceived, four-year, multi-method study conducted across four diverse local communities in Victoria, Australia. In particular it focuses on insights gained from the use of photonarrative techniques to explore the lived experiences of people whose involvement in local communities is seen as being problematic. This is complemented by some surprising outcomes of a survey of people who participated in a range of community celebrations and events. The paper shifts the focus from specific outcomes of arts-based interventions in community life to an understanding of how arts participation can help people negotiate new forms of engagement in complex and changing local communities. It argues for a more nuanced understanding of contemporary community life in the context of globalization and a deeper understanding of the relationships between inclusion and exclusion.
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49

Woodruff, Graham. "Community, Class, and Control: a View of Community Plays." New Theatre Quarterly 5, no. 20 (November 1989): 370–73. http://dx.doi.org/10.1017/s0266464x00003687.

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‘Community’ has, suggests Graham Woodruff, a friendly ring: yet it is also a weasel word, lending a stamp of often spurious togetherness to bodies politic or theatric. Thus, the use of ‘community’ in the geographical sense is often drained of any true meaning, where it is not a cover for the avoidance of contentious political issues. ‘Communities of interest’ had some success in speaking theatrically in the 'seventies, but now, Woodruff claims, the political situation is such that ‘community theatre’ can and should seek to express the common interests of the increasingly beleaguered working class, offering a way of extending the dramatizations attempted outwards from parochial to wider political concerns. Graham Woodruff was Head of the Drama Department at the University of Birmingham before becoming director of Telford Community Arts, on whose work he draws for the following article.
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50

Heinz, Melinda. "Opportunities and Challenges With Creative Community Partnerships." Innovation in Aging 4, Supplement_1 (December 1, 2020): 814. http://dx.doi.org/10.1093/geroni/igaa057.2962.

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Abstract Arts programming can address chronic conditions prevalent among older adults. An overview of an implementation of the revised nationwide Opening Minds through Arts (OMA) program anchors the symposium. The paper reports an implementation by an area university and an eldercare facility to recruit and train student volunteers to collaborate with persons living with dementia, and create paintings for a public exhibition. The Arts for a Lifetime Program used bi-weekly student led programming in a long-term care community; the paper includes an overview of materials used throughout the program and reports resident preferences for materials. A report of results of an ethnographic investigation of the impact of creative aging fine arts programs on older adults adds information about how participation might influence the older person’s self-esteem or perceptions of aging. The presentation about creation of music modules investigates the potential of music therapy for the promotion of healing for older adults managing pain. The final paper describes the methodology lessons learned from ARTmail, a community engaged study of the benefits of a structured participatory arts program for older adults with memory symptoms or cognitive impairment. Presentations in this symposium inform identification and development of opportunities to create and engage in meaningful experiences with older adults.
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