Community art

The term "community art" may also apply to public art efforts when, in addition to the collaborative community artistic process, the resulting product is intended as public art and installed in public space. Popular community art approaches to public art can include environmental sustainability themes associated with urban revitalization projects.

Models of community-engaged arts can vary with three forms of collaborative practices emerging from among the sets of common practices. In the artist-driven model, artists are seen as the catalysts for social change through the social commentary addressed in their works. A muralist whose work elicits and sustains political dialogue would be a practitioner of this model. In the second model, artists engage with community groups to facilitate specialized forms of art creation, often with the goal of presenting the work in a public forum to promote awareness and to further discourse within a larger community. In the process-driven or dialogic model, artists may engage with a group to facilitate an artistic process that addresses particular concerns specific to the group. The use of an artistic process (such as dance or social circus) for problem-solving, therapeutic, group-empowerment or strategic planning purposes may result in artistic works that are not intended for public presentation.[2] In the second and third models, the individuals who collaborate on the artistic creation may not define themselves as artists but are considered practitioners of an art-making process that produces social change.

Due to its roots in social justice and collaborative, community-based nature, art for social change may be considered a form of cultural democracy.[3] Often, the processes (or the works produced by these processes) intend to create or promote spaces for participatory public dialogue.

In Canada, the field of community-engaged arts has recently seen broader use of art for social change practices by non-arts change organizations. The resultant partnerships have enabled these collaborative communities to address systemic issues in health, education, as well as empowerment for indigenous, immigrant, LGBT and youth communities.[4] A similar social innovation trend has appeared where business development associations have engaged with artists/artistic organizations to co-produce cultural festivals or events that address social concerns.

As the field diversifies and practices are adopted by various organizations from multiple disciplines, ethics and safety have become a concern to practitioners. As a result, opportunities for cross-disciplinary training in art for social change practices have grown within the related field of arts education.

A community can be seen in many ways, it can refer to different kind of groups. There are also virtual communities or online communities. Internet art has many different forms, but often there is some kind of community that is created for a project or it is an effect of an art project.

Community theatre includes theatre made by, with, and for a community—it may refer to theatre that is made almost by a community with no outside help, or to a collaboration between community members and professional theatre artists, or to performance made entirely by professionals that is addressed to a particular community. Community theatres range in size from small groups led by single individuals that perform in borrowed spaces to large permanent companies with well-equipped facilities of their own. Many community theatres are successful, non-profit businesses with a large active membership and, often, a full-time professional staff. Community theatre is often devised and may draw on popular theatrical forms, such as carnival, circus, and parades, as well as performance modes from commercial theatre. Community theatre is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members.

Community-engaged dance includes dance made by, with, and for a community. There are several models for creating community-engaged dance, primarily concerned with participatory art practices and cooperative values.[5] Community-engaged dance generally focuses on exploration, creation and relationship building rather than technical skills development. Like community theatre, community-engaged dance is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members.

Many communities have some form of art institution that furthers their community by providing access to activities and programs the government or other institutions cannot provide. These community based art centers or nonprofit organizations are at the forefront of bringing emotional and physical wellness to the communities they reside in. All art community nonprofits have different programs, these “programs can focus on building community, increasing awareness..,developing creativity, or addressing common issues.” [6] The creative and relaxed environment of these programs makes it a therapeutic way for individuals to express themselves without fear of repercussions.

Individuals who live in a town that hosts an art community or nonprofit more often than not contribute money and time into the organization more than they think. This Is a good thing as nonprofits help to bolster their community by creating a culture of art. This essentially means that nonprofits provide that outlet for individuals to create, and showcase their artistic talents. Having an art institution or nonprofit is a cathartic way for individuals to express themselves, as well as economically many businesses benefit from having nonprofits in their towns.[7]

Many art institutions provide lots of programs and services like art classes for painting or drawing etc.. for the young, old and everyone in between.[8] It is vital to the continuation of the organization to keep the love of art alive in younger generations.

One of the most important aspects of a program offered at an art institution or nonprofit organization is that it provides the participant with a stress free and fun experience. Art is a great tool that helps in reducing stress, anxiety, and is helpful to move towards healing.[9]

One prominent non-profit organization that is proficient in helping underprivileged communities and families is “Free Arts for Abused Children” out of Los Angeles. [10] This organization focuses on bringing families together through art, and allowing children and families to express their artistic abilities and feelings in a safe environment.

This is a perfect example of why art can make such a difference within a community, as it is vital for many individuals and families to reach a place of healing.

• Self Help Graphics & Art

• Cleveland, William. Art and Upheaval: Artists on the World's Frontlines. Oakland, CA: New Village Press, 2008.
• Elizabeth, Lynne and Suzanne Young. Works of Heart: Building Village Through the Arts. Oakland, CA: New Village Press, 2006.
• Fox, John. Eyes on Stalks. London: Methuen, 2002.
• Goldbard, Arlene. New Creative Community: The Art of Cultural Development. Oakland, CA: New Village Press, 2006.
• Hirschkop, Ken. Mikhail Bakhtin: An Aesthetic for Democracy. New York: Oxford University Press, 1999.
• Kester, Grant. Conversation Pieces: Community + Communication in Modern Art. Berkeley: University of California Press, 2004.
• Knight, Keith and Mat Schwarzman. Beginner's Guide to Community-Based Arts. Oakland, CA: New Village Press, 2006.
• Kwon, Miwon. One Place after Another Site-Specific Art and Locational Identity. Boston: MIT Press. 2004.
• Lacy, Suzanne. Mapping the Terrain: New Genre Public Art. Seattle: Bay Press, 1995.
• Pete Moser and George McKay, eds. (2005) Community Music: A Handbook. Russell House Publishing.
• Helen Crummy (1992) Let The People Sing. Craigmillar Communiversity
• "An Outburst of Frankness: Community Arts in Ireland – A Reader" edited by Sandy Fitzgerald. Tasc at New Island, 2004.
• Sloman, Annie (2011) ijkey=fYtK0bzzkyivzEg&keytype=ref Using Participatory Theatre in International Community Development, Community Development Journal.
• De Bruyne, Paul and Gielen, Pascal (2011), Community Art. The Politics of Trespassing. Valiz: Amsterdam.