Creative visions of community

Wondering how to utilize my freshly issued BFA, I became captivated by the publicly accessible format of mural paintings. Always on display, murals can be enjoyed by everyone, regardless o f their age or socio-economic background. Many have become landmarks in their community, often catalysts for neighborhood involvement. Unlike art cloistered in museums, or hidden away in the homes o f the wealthy, murals invite interaction; murals show that walls can unite rather than divide. I decided to share my newfound enthusiasm by teaching mural painting to youth at a recreation center in Philadelphia, the city of brotherly love. As we swept up broken bottles and trash, rolled white primer over graffiti, and painted a mural on an outdoor wall, neighbors both young and old halted their activities of the day to compliment our efforts and praise the abilities of the youth. We discovered that the tangible, transformative nature o f the art we created together extended beyond our circle. The youth learned firsthand that they have the ability to create a better environment for themselves and others. From then on I was hooked. Before embarking on a MFA in Community-Based Art Education, I created many collaborative murals with youth and community members during my three-year tenure as the director of after-school and summer programs for the Philadelphia Mural Arts Program, and continued to create works of art with youth during my three years teaching workshops for YouthCity Artways in Salt Lake. What drew me to graduate studies was a desire to build on my existing practical knowledge by studying scholarly methods of education and community organizing, specifically those centered on teaching kids to relationships with community members, and becoming involved in more projects that are grassroots based, not "top down." I enjoyed the difficult and rewarding challenge of capturing issues that are important to a neighborhood in a meaningful and aesthetically appealing way. Most of my community-based artistic efforts sought to integrate multiple viewpoints into accessible and cohesive compositions. Collaborative art-making is intriguing to me because it is such a challenge to navigate the balance between integrating the aesthetics of others and ones own vision. When I see one artist create many disparate works with different groups, I often find that they look similar. If an artist truly created a piece with others, shouldn't it possess less of their own individual aesthetic and more of the aesthetic o f the group? I feel that community-based artworks should reflect their unique collective o f creators as much as possible. During my studies I wanted to explore methods of involving the youth in more actively in the compositional decision-making. I hoped to learn how to involve students more in the creative process, and still make a piece that had high aesthetic quality. I felt that works created with the lead artist dominating the aesthetic were nice looking, but lacked a sense of authenticity and diversity that comes when creating with others. I chose to pursue an MFA program instead of a MA or PhD in education, social work, or urban planning, because I feel that fostering artistic growth and expression is most important to my collaborative artistic efforts. As an educator I strongly believe that anyone can make a successful work of art. I am continually inspired by the beautiful creations of individuals who do not consider themselves artists. However, when creating art with people who have limited experience with art materials or ideas, I think it is most useful to have a trained artist lead the group. Artists can utilize their experience and knowledge to ensure that creative endeavors are successful. The more a finished piece engages its viewers, the more likely it is to instill pride in its creators.

CREATIVE VISIONS OF COMMUNITY by Sarah Elizabeth Moyer A final project paper submitted to the faculty of the University of Utah partial fulfillment of the requirements for the degree of Master of Fine Arts Department of Art and Art History The University of Utah August 2008 Copyright © Sarah Elizabeth Moyer 2008 All Rights Reserved THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS SUPERVISORY COMMITTEE APPROVAL of a final project paper submitted by Sarah Elizabeth Moyer This final paper has been read by each member of the following supervisory committee and by majority vote has been found to be satisfactory. 1 LbRJjH Chair: Beth Krensky ^ ) - bo - 09, Ma Chitlin T!tUiilT THE UNIVERSITY OF UTAH COLLEGE OF FINE ARTS FINAL READING APPROVAL I have read the final project paper o f_________Sarah Elizabeth Moyer_______ in its final form and have found that (1) its format, citations, and bibliographic style are consistent and acceptable; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the Supervisory Committee and is ready for submission to the Graduate School. 7 __ ,_____________ ___ Date Beth Krensky ^ Chair, Supervisory Committee Approved for the Major Department Elizabeth A. Peterson Chair Approved for the Graduate Council INTRODUCTION Wondering how to utilize my freshly issued BFA, I became captivated by the publicly accessible format of mural paintings. Always on display, murals can be enjoyed by everyone, regardless of their age or socio-economic background. Many have become landmarks in their community, often catalysts for neighborhood involvement. Unlike art cloistered in museums, or hidden away in the homes of the wealthy, murals invite interaction; murals show that walls can unite rather than divide. I decided to share my newfound enthusiasm by teaching mural painting to youth at a recreation center in Philadelphia, the city of brotherly love. As we swept up broken bottles and trash, rolled white primer over graffiti, and painted a mural on an outdoor wall, neighbors both young and old halted their activities of the day to compliment our efforts and praise the abilities of the youth. We discovered that the tangible, transformative nature of the art we created together extended beyond our circle. The youth learned firsthand that they have the ability to create a better environment for themselves and others. From then on I was hooked. Before embarking on a MFA in Community-Based Art Education, I created many collaborative murals with youth and community members during my three-year tenure as the director of after-school and summer programs for the Philadelphia Mural Arts Program, and continued to create works of art with youth during my three years teaching workshops for YouthCity Artways in Salt Lake. What drew me to graduate studies was a desire to build on my existing practical knowledge by studying scholarly methods of education and community organizing, specifically those centered on teaching kids to become agents for social change. Other goals included finding ways to foster lasting relationships with community members, and becoming involved in more projects that are grassroots based, not "top down." I enjoyed the difficult and rewarding challenge of capturing issues that are important to a neighborhood in a meaningful and aesthetically appealing way. Most of my community-based artistic efforts sought to integrate multiple viewpoints into accessible and cohesive compositions. Collaborative art-making is intriguing to me because it is such a challenge to navigate the balance between integrating the aesthetics of others and ones own vision. When I see one artist create many disparate works with different groups, I often find that they look similar. If an artist truly created a piece with others, shouldn't it possess less of their own individual aesthetic and more of the aesthetic of the group? I feel that community-based artworks should reflect their unique collective of creators as much as possible. During my studies I wanted to explore methods of involving the youth in more actively in the compositional decision-making. I hoped to learn how to involve students more in the creative process, and still make a piece that had high aesthetic quality. I felt that works created with the lead artist dominating the aesthetic were nice looking, but lacked a sense of authenticity and diversity that comes when creating with others. I chose to pursue an MFA program instead of a MA or PhD in education, social work, or urban planning, because I feel that fostering artistic growth and expression is most important to my collaborative artistic efforts. As an educator I strongly believe that anyone can make a successful work of art. I am continually inspired by the beautiful creations of individuals who do not consider themselves artists. However, when creating art with people who have limited experience with art materials or ideas, I think it is most useful to have a trained artist lead the group. Artists can utilize their experience and knowledge to ensure that creative endeavors are successful. The more a finished piece engages its viewers, the more likely it is to instill pride in its creators. A BRIEF HISTORY OF COMMUNITY AND MURAL ART There is no commonly agreed upon beginning for community arts in America.1 The lyceum movement begun in 1826 is the earliest arts program mentioned in the current literature I could find.2 Thinking that community art did not begin until years after the continent was colonized is ethnocentric. It disregards thousands of years of human existence, and certainly countless artists throughout time have been an integral part of their community activities. Maybe because the art and community rituals were so integrated into the daily lives of these early people it is hard to separate what was art and what was necessity. As far as the history tells us, there were no central organizations committed to fostering art experiences in the earliest community settings. I would argue that no such organizations were needed, because arts were already such an essential part of their society. According to Goldbard, community arts practices are based on two fundamentals. First, they are founded on the "belief that cultural meaning, expression and creativity reside within a community, that the community artist's task is to assist people in freeing 1 Congdon, Blandy and Bolin, Histories o f Community-Based Art Education, 2. 2 Dreeszen, Local arts agencies: Making a difference in communities, 4. 4 their imaginations and giving form to their creativity." Secondly, collaboration between artists and community members is necessary.3 Most of the literature concerning community arts focuses on specific organizations. I believe that numerous individuals have been actively engaged in communal artistic activities throughout time, and that their work falls easily within Goldbard's definition. However, because of the small scale they have endeavored in, it is easy for them to be lost in the histories created after them. This paper will explore a distinctly American view of the history of community art. I will briefly describe arts organizations and movements which are commonly accepted as forerunners of today's community arts activities. Examples of mural creation throughout time will also be noted. It is important to investigate the history of this discipline in order to not only gain inspiration, but also to help anticipate issues that may arise in working collaboratively with others. We need to look no further than the cave paintings of Lascaux or the petroglyphs in the desert west to see examples of individuals creating art as a part of communal functions.4 I imagine early humans pointing to the parts of an animal on one of the cave drawings, using these images to disperse experiential knowledge of hunting and cooking to their progeny. Was there one member of the community, a shaman maybe, who created these pictures for the benefit of all of his neighbors? The symbolism, detail, and longevity of these primitive creations confound artists and scholars even today. The murals and relief sculptures adorning Egyptian, Mayan, and Pompeian houses and tombs serve as magnificent keys to understanding their culture and history. Even 3 Goldbard, Postscript to the Past: Notes Toward a History o f Community Arts. 4 Drescher, San Francisco Murals: Community Created its Muse 1914-1990, 9. 5 though many of these artworks were not necessarily created for the public interest, they illustrate the importance of artistic expression in these successful ancient cultures. The frescoes created during the European renaissance are "more direct antecedents of today's urban expressions."5 These canonical works of art were seen by countless churchgoers in their day, and have continued to inspire generations of artists. Because of their distinctly public, dialectical nature, these murals, as well as the sculptures created simultaneously, should be considered precursors of community-based art. Public art and public works movements in America help lay the groundwork for current community-based art endeavors. Some examples include the Village Improvement movement (1853), the Municipal Arts program, City Beautiful, and the Outdoor Art movement (1899). The objective of the Village Improvement movement was to beautify communities through environmental improvements like paved streets and sidewalks, newly planted trees, and policies limiting the use of billboards. In 1900 there were 3,000 village improvement associations across the country, all working to build and respond to their community's concern for aesthetics. The Municipal Arts initiative progressed out of this movement. This program's goal was to make cities more beautiful by creating public statues, fountains, arches, etc. These new amenities were produced to offset the ugliness of industrialization, and were often influenced by classical European architecture. The most well known "community improvement-through-aesthetics"6 movement is City Beautiful. To showcase the achievements of this initiative, monumental landscaping, public art, and civic centers were featured at the Chicago World's fair in 1893. Unfortunately, civic leaders in 1910 began to reject these inefficient 5 Ibid. 6 Dreeszen, Local arts agencies: Making a difference in communities, 4. 6 and costly endeavors, which were said to benefit only the upper class. The Outdoor Movement followed similar ideals as Municipal Arts and City Beautiful. Community livability was the goal of these aesthetic public works, the most famous being Central Park in New York City.7 Even though these programs were not explicitly labeled as community art endeavors, they illustrate the need to address environmental and aesthetic concerns in community designs. Individuals desire a comfortable, beautiful place to live, and Americans have expressed these needs throughout their history. Jane Addams, a pioneer in community development and social work, created Hull House in Chicago in 1889. Her work promoting education in the arts was influenced by the philosophies of John Ruskin and William Morris. She believed that great art was a way to "bring meaning and purpose into the drab lives of [her] immigrant neighbors."8 Hull House was the forerunner for settlement houses across the nation. In all of these programs, arts were "perceived as a way of educating people, lifting expectations, promoting conversation, stimulating debate, teaching new skills, building community and improving social conditions."9 Museums were often the first organizations in communities to establish neighborhood arts programs. For example, the Pennsylvania Museum and School of Industrial Art, which later became the Philadelphia Museum of Art, was founded in 1876 not only to display important works of art, but also to teach residents the latest in visual and industrial arts.10 The Metropolitan Museum of Art began to offer storytelling with pictures for kids in their communities in 1918. These stories would always be related to 7 Ibid. 8 Addams, Art Work, Jane Addams, 39. 9 Gilchrist, Settlements and the arts, 173. 10 http://www.philamuseum.org/information/45-l 9.html 7 works of art on display that youth could view afterwards.11 The Museum of Modem Art established a Department of Education in 1937 to help engage the public with modem and contemporary art.12 Museums often have greater resources, either financial or visual, to engage communities with works of art. Almost every major museum in America today incorporates education and/or community relations in its annual programming. Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros, known as "Tres Grandes" (Three Great Ones) are considered by many to be the fathers of contemporary activist art. Because of their work, the period between the 1920s and 1950s is now considered the Mexican Renaissance. During this time, Mexico was undergoing a violent revolution, and various political and social factions were vying for power. Images of political revolution and indigenous history were frequent in their frescoes.13 A widespread but not often discussed influence on community arts is the prepackaged kit crafts that were marketed beginning in the 1920s.14 Crafts are not considered art in the traditional sense, such as paintings or sculptures. But they truly exemplify artistic democracy, where anyone regardless of schooling can create a beautiful object without having to buy expensive tools and materials. They also fit perfectly into a postmodern aesthetic, where notions of originality are constantly in question. In speaking of the craft community, Agostinone-Wilson states, "This community is both social and isolating at once as crafting is marked by periods of 11 Zucker, Ann Curtis Chandler: Art Educator Nonpareil at the Metropolitan Museum o f Art, 11. 12 Kim, Art Education in the Museum o f Modern Art, 22. 13 Rochfort, Mexican Muralists: Orozco, Rivera, Siqueiros, 11-22. 14 Agostinone-Wilson, Kit Crafts and the People Who Make Them: A History o f Pre-Packaged Pedagogy Since 1930, 83. 8 solitude and sharing. Expression of community goes against the ideal of individuality as taught in schools and in the dominant art education curriculum."15 Works Progress Administration (WPA) projects are looked at as significant precursors to current community art activities. In 1933, during the Great Depression, the WPA began to provide jobs to the unemployed. Many artists were hired under this program, primarily to decorate public buildings. All throughout the United States, evidence of this program can be seen in murals, sculptures, and paintings that adorn federal buildings and civic centers.16 Contemporary community muralists often grew up seeing WPA works in their local post office or county building. Many of the same themes addressed by WPA artists, such as scenes from a community's history, continue to be seen in murals today.17 The Federal Theatre Project and Federal Writers' Project were also a part of this initiative. Writers, actors, and directors created and performed plays, oral histories, and children's books for the benefit of all citizens.18 Some claim that current percent for art programs, which automatically allocate money from new construction to artwork for the community, were modeled after WPA.19 The Theatre of the Oppressed, active since the 1950s, was created by Augusto Boal. His performances were interactive, blurring the line between actors and audience. Boal believed that active dialogue is important to maintaining healthy communities, for "all human beings desire and are capable of dialogue, and when a dialogue becomes a monologue, oppression ensues." Workshops and performances conducted by the 15 Ibid., 90. 16 Dreeszen, Local arts agencies: Making a difference in communities, 5. 17 Drescher, San Francisco Murals: Community Created its Muse 1914-1990, 11. 18 Goldbard, Postscript to the Past: Notes Toward a History o f Community Arts. 19 Dreeszen, Local arts agencies: Making a difference in communities, 5. 20 Paterson and Weinberg, We Are All Theater: An Interview with Augusto Boal, 281. 9 Theatre of the Oppressed were meant to not only explore dialogue, but also develop critical thinking and action. Government agencies such as National Endowment for the Arts (NEA), National Endowment for the Humanities (NEH), and Institute of Museum Services (IMS) began supporting community arts more deliberately in the late 1960s.21 Organizations such as the San Francisco Neighborhood Art Program (NAP), created in 1967, were able to grow and serve more individuals because of new sources of funding from both government agencies and private philanthropies. NAP employed neighborhood organizers and artists to create paintings, learn music, and produce street festivals, while giving young people positive activities during out of school hours.22 Artists have often been on the forefront of social movements. Community artists were prolific during the Civil Rights movement, and helped to advance the causes of those fighting for social equity. They also had a large role in the peace movement surrounding the Vietnam War. Issues of fairness for all individuals, without regard to ethnicity, class, religion, or ability, have been of highest concern to community-based art initiatives.23 In 1967, a group of twenty African American artists began painting on an old abandoned building in Chicago's South Side. A truly collaborative mural, the Wall o f Respect, was "uncommissioned, without patronage or manifestos, it was a self­determined effort of community-conscious artists."24 This project was unique, not only in its spontaneity and anti-commercial nature, but because it was created by a group of 21 Weitz, Coming Up Taller: Arts and Humanities Programs fo r Children and Youth At Risk, 21. 22 Goldbard, Postscript to the Past: Notes Toward a History o f Community Arts. 23 Dreeszen, Local arts agencies: Making a difference in communities, 6. 24 Cockroft, Weber and Cockroft, Toward a People's Art: The Contemporary Mural Movement, 1. 10 African American artists who collaborated on a public piece. According to the Organization for Black American Culture's statement of purpose, "we want to provide a new context for the Black Artist in which he can work out his problems and pursue his aims unhampered and uninhibited by the prejudices and dictates of the ‘mainstream.'"25 The "new context" was community art. The Wall o f Respect is seen as the catalyst for the contemporary mural movement in America. The Great Wall, the largest mural in the world, was created by Judy Baca beginning in 1976. This piece lines the Tunjunga Wash Channel of the San Fernando Valley, which was built by the Army Corps of Engineers. It depicts the history of California, beginning in pre-Columbian times and leading up to the present day. Numerous community youth working on the mural learned not only about painting techniques, but also received counseling on the draft, drugs, sexuality, and other social problems. Baca's work, "in its mixture of the mural tradition and community organizing, also undermines the sanctity of the single creator."26 The Philadelphia Mural Arts Program is currently the most prolific mural program in America, creating over 100 murals each year, with over 2,700 murals painted since its inception in 1984. Begun as an anti-graffiti initiative, education and urban revitalization have always been tenets of this city funded agency.27 Students of the its Big Picture program are taught the fundamentals of drawing and painting, learn mural history and process, and visit major art museums on the east coast. As they progress through the 25 Ibid., 2. 26 Hicks, The Artist as Citizen: Guillermo Gomez-Pena, Felipe Ehrenberg, David Avalos and Judy Baca, 94. 27 Golden, Rice and Kinney, Philadelphia Murals and the Stories They Tell, 20. 11 years, they can then join Mural Corps, which allows teens to work side by side with artists on large scale community projects. There are countless other community arts programs, projects, and artists that deserve to be mentioned, due to their innovative, enduring programming, and their ability to bring arts of the highest quality to those who may not otherwise have exposure. Community arts are not new to our society. Individuals and groups have engaged in communal artistic endeavors throughout the ages. Organizations created solely to foster art in communities are fairly recent in human history. What makes these programs different is the way they define community and their methods of involving others. The term community can describe a neighborhood, a classroom, a group of like-minded individuals, etc. The act of working on a collaborative project, such as a work of art, can even create a new community. When approaching a project, artists must first decide who they are going to work with and how to best utilize the skills of others while simultaneously fostering their growth. Artists must decide what levels of input they can include from participants and how much overarching control they will need to exert over the final product. There are no standardized categories to describe schools of community based artistic theory or methods of creation. As convenient as it would be to have general rules governing the engagement of others in community art, each location and population have different needs and react differently to collaborative work. This makes it difficult to glean elements from the history of community-based art that will always be necessary in order to create successful works. However, it does allow for flexibility to explore ones own creative vision of what can be possible. 12 We can see many similar guiding principles behind these programs. People of all walks of life deserve to experience the arts. If enough people agree to support art programs in their communities, large, successful works can result. Lived environments and whole cities can become beautiful places when aesthetics are prioritized. The arts can be a constructive activity for youth and adults who are out of school or work. Useful life skills can be learned while participating in arts programs. Artists are often the first to address, and help the larger public think in a different way about contemporary social issues. I hope they continue to be innovative in their future collaborations, while building upon the experiences and innovations of community artists that came before them. Other Community Art Paradigms: Collaborative Artmaking in India. A Brief Analysis To gain greater insight into community art beyond American practices, I researched different paradigms for making collaborative artmaking by looking at artists in India. I chose to look at Mithila painters, Bastar artists, and Navjot Altaf based on the recommendation of art historian Mary-Ann Milford-Lutzker, whose research focuses on contemporary Indian art. Murals are integral to the community of Mithila. They are communally painted on the walls of homes for ritual events and to "celebrate marriages, sacred thread ceremonies, births of sons, or the dedication of family shrines."28 Painting images consecrates these spaces, elevating the mundane to become sacred. Women close to the family, both in proximity and ancestry, work collectively on these large murals. Often "pictorial conception, drawing, and iconographic features, and to some extent, the 28 Milford-Lutzker, From the Ocean o f Painting: India's Popular Paintings, 1589 to the Present, by Barbara Rossi; Roy Craven, Jr.; Stuart Cary Welch, 208. 13 stylistic aspects, are governed by a woman known to be a distinguished painter, to is appointed as the lead or coordinator."29 Artists are trained at home while they are young, both through deliberate instruction and by observing communal artistic activities.30 In addition to separating, revering, and decorating the space, the murals of Mithila narrate myths and stories that compliment the region's oral tradition. Artists see painting as not only a sacred labor, but often as a form of meditation. As they paint, they can pray to and call down the blessings of the god in whom they are depicting.31 I heard that bronze statue makers in Bastar have crafted works collaboratively for centuries, but found no mention of their process in the articles, books, and websites I researched. Instead I discovered that their work has been primarily commodified. One example, from an India travel guide, says that the Bastar region is "a good center for visiting tribal areas, exploring the Kanger National Park and discovering the curiosities of Bastar artwork."32 Bastar's government website states that "Another place of interest for tourists in Jagdalpur is Kumhara Para area where all types of handicraft items made by the skilled hands of Bastar tribes are available."331 was saddened to see that so many years of experience in collaborative art-making were summarized by these descriptions. How can we learn from their well-established process when descriptions seem to not exist in available literature? Navjot, who uses her first name primarily, was bom in 1949, and received a diploma of Fine Arts in 1972 from the J.J. School of Art in Mumbai. She has long been drawn to the plight of tribal artisans who face extraordinary hardships as their forests and 29 Jain, Ganga Devi: Tradition and Expression in Mithila Painting, 51. 30 LaDuke, Traditional Women Artists in Borneo, Indonesia and India, 17. 31 Ibid., 19. 32 Singh et al, India, 637. 33 http://www.bastar.nic.in/ 14 lands are encroached upon by expanding commercial and agribusiness interests. In 1997 she received a grant from the government of India to work with traditional artists in Bastar, Madhya Pradesh, to "help them restore their dying craft of carving memorial pillars out of wood and stone."34 Her role was to both encourage them to continue making their ritual art and to experiment with new forms of expression. Navjot has worked to develop markets for traditional artworks and organized exhibitions of their work, helping them have exposure to a larger market. In speaking about her role, she states, "Turning to traditional sources is not for revivalist purposes but to enliven the imagination through different idioms, to give myself space to reflect upon my own creative and ideological thinking."35 There is a rich cultural heritage that these artists gain their inspiration from, and I am certainly a better artist for studying these Indian artforms. According to one painter, "It is this traditional life-affirming integration of the artist, the art, and the community that has attracted many contemporary artists to these cultures."36 However, I want to argue that culture has become a form of capital in our post-colonial world. Individuals are buying and selling culture, integrating, and even appropriating it. Those with the most "cultural capital" accrued are often from urban and wealthy or powerful positions, no matter what the culture they are from. I found that Pierre Bourdieu wrote about cultural capital twenty years ago, where he described a system of exchange that is based on cultural knowledge as a way to accumulate power and status. He described three 34 Milford-Lutzker, Intersections: Urban and Village Art in India, 39. 35Milford-Lutzker, Five Artists from India: Gogi Saroj Pal, Rekha Rodwittiya, Navjot, Anupam Sud, Rummana Hussain, 25. 36 LaDuke, Traditional Women Artists in Borneo, Indonesia and India, 20. 15 subtypes: embodied, objectified and institutionalized. I think Bourdieu's objectified state of cultural capital is most applicable to describing the phenomenon I am trying to convey: Things which are owned, such as scientific instruments or works of art. These cultural goods can be transmitted physically sold as an exercise of economic capital, and symbolically as cultural capital. However, while one can possess objectified cultural capital by owning a painting, they can only consume the painting (understand its cultural meaning) if they have the correct type of embodied cultural capital (which may or may not be transmitted during the selling of the painting).37 . In my research I was only able to find one-way influence, where the contemporary artists benefitted from their interaction with the traditional artists. "The fact that urban artists have manipulated the situation of village artists reveals the distinct class, social, educational, and economic differences that exist between the two worlds."38 I did not find any examples where the traditional artists changed their aesthetic or even lauded their interaction with more well-known and well-paid individual artists of India. I gained greater understanding that artists need to be careful how they appropriate imagery. Removing art from its culture and the context in which it was created can permanently alter the stolen elements as well as the tradition from which they were bom. I also learned that the idea of the superstar genius artist is prevalent all over the globe. It may take more than my lifetime, but I hope to conquer this notion by continuing to work with others to make art inside and about communities. 37 Harker, Wilkes, and Mahar, An Introduction to the work o f Pierre Bourdeiu: the practice o f theory. 38 Milford-Lutzker, Intersections: Urban and Village Art in India, 30. 16 INFLUENCES I find many methods that influence my practice of community-based art education, both inside and outside of the art and education theories. What follows is a brief description of what I feel are the main sources of my inspiration. Paulo Freire Paulo Freire has influenced many educators and activists. He used literacy as a way to help the oppressed know their condition. For him, one of the first steps was naming an issue or situation. Once you had language, action could follow. If individuals can express themselves and their condition, they can begin to actively unearth oppression and transform their lives. Objects, or "those who are known and acted upon", become subjects, "those who know and act."39 Obtaining critical consciousness is the last stage in regaining their humanity. Creation of language is another way to solidify bonding among community members. "One of the quickest ways to create a collaborative community is to create its own language... .a few good, colorful, and descriptive phrases to capture the innovations they're creating and the problems they're solving."40 Co-intentional education is another hallmark of Freire's work. He felt that teachers are at once teacher and student. All educational situations must be built on mutual acceptance and trust, and all involved both teach and all learn. He felt that discussion and dialogue, are important components of any exercise in education. According to Paulo Freire, "Without dialogue, there is no communication, and without 39 Freire, Pedagogy o f the Oppressed, 20. 40 Schrage, No More Teams! Mastering the Dynamics o f Creative Collaboration, 225. 17 communication, there can be no true education."41 Talking with students about issues that affect their daily lives, encouraging them to ask questions, and helping them to see possible solutions to these issues are all ways to get students to think critically. These are abilities that, unfortunately, are rarely taught in a traditional setting. Youth need to leam these skills, which not only help them create art, but will also transfer into any subject they hope to leam about.42 John Dewey John Dewey felt that in order to be effective, education must be experientially based, and lead to greater intelligence. True education allows one to develop the skills to critically evaluate and respond to both present and future experiences. He felt that imagination was central to education. Dewey believed that students need to engage in democracy firsthand in order for it to flourish. Art is an important component of Dewey's methods. It brings together diverse individuals, and can teach them more about each other than words alone: "Art is a more universal mode of language than is the speech that exists in a multitude of mutually unintelligible forms."43 Creation of art nourishes the imagination. I believe that helping students envision during the creative process allows them to ultimately conceive of a life beyond what they currently know, and begin to think of themselves as creators of a better society in which to live. "Only imaginative vision elicits the possibilities that are interwoven within the texture of the actual. The first stirrings of dissatisfaction and the 41 Freire, Pedagogy o f the Oppressed, 81. 42 Pellino, The Effects o f Poverty on Teaching and Learning. 43 Dewey, Art as Experience, 335. 18 first intimations of a better future are always found in works of art."44 Imagination and learning go hand in hand, "Children who have been provoked to reach beyond themselves, to wonder, to imagine, to pose their own questions are the ones most likely to learn."45 Participatory Action Research One method of engaging youth that has met great success is that of participatory action research (PAR). PAR gives youth great flexibility in designing the goals and outcomes of a project. They are taught how to be researchers, and are also treated as subjects.46 PAR workshop leaders acknowledge that youth have more intimate knowledge of issues that face them and their community than outside researchers have. Students are given the framework and guidance to investigate issues they feel are appropriate in their neighborhood, and are challenged to find solutions to problems they face. PAR is a great method to use when engaging in community art activities. The arts are participatory - each individual is actively creating something, rather than passively listening to a lecture. They also involve action - students act by painting, composing, writing, etc. Art projects require research - in finding the correct materials to use, in looking at references for a drawing, or learning about styles of art throughout history. Rachel Mason helps us understand that both the arts and research involve qualitative problem solving.47 Both artists and researchers plan, experiment, reflect, and act again.48 44 Ibid., 346. 45 Greene, The Dialectic o f Freedom, 14. 46 Torre and Fine, Youth Participatory Action Research: A National Movement o f Research for Action, 2. 47 Mason, Art Teachers and Action Research, 563. 19 The field of youth participatory action research has shown that it is possible "not only to produce new knowledge and challenge dominant representations, but to produce, organize for and practice change."49 Youth have the potential within them to become active agents for change in their community; it is up to teachers and community leaders to thoughtfully involve them in such projects. Opponents to this method claim that involving youth on such a scale consumes too much time and too many resources. There is also a general sense that youth are passive, inactive, and unable to be helpful members of their community. Also contributing to the negative feedback are the many projects that claim youth participation, but only involve youth in superficial roles.50 The challenge for educators is to take the extra effort to create projects that require a deeper level of participation from youth. Roger Hart encourages us to avoid projects that utilize youth in levels of non­participation, which he refers to as "manipulation, decoration, and tokenism."51 PAR has shown that children can develop greater skills that prepare them for adulthood, and a greater sense of responsibility to participate in community affairs. Because youth will grow to become adults, instilling values of community participation in them can create a sustainable resource for years to come. Youth will carry these newly learned values, such as working with others to combat issues in their community, with them throughout their lives. 48 Ibid., 565. 49 Torre and Fine, Youth Participatory Action Research: A National Movement o f Research for Action, 4. 50 Hart, Children's Participation: The Theory and Practice o f Involving Young Citizens in Community Development and Environmental Care, 3. 5' Ibid., 41. 52 Ibid., 8. 20 Driskell recommends that youth take leadership roles in a project. Right at the beginning and throughout, youth should be encouraged to work on the same level as adults in a project. This helps create a greater sense of ownership, and develops leadership skills. Adults need to take an active role throughout; involving youth leaders can be of great help. The adult leader must also be prepared to "provide multiple opportunities for input and involvement, allowing participants of all ages to choose the level and type of participation they prefer based on their ability, interest and availability."54 This may create a classroom environment where every student is engaged in a different activity, much different than what we see in today's schools. However, assuming that all youth of certain ages can learn at the same pace in the same style is naive. Teachers are encouraged to "be honest with children about the issue of different competencies rather than pretending to them that they are all equally good. This should help cooperation between children and sharing knowledge."55 Tasks need to be realistic and attainable.56 The goal is for youth to feel empowered, not to be reminded of the abilities they may lack. Students can develop incredible skills and talents if given proper instruction. Teachers must create a learning environment where youth feel able to make a difference. Adult leaders can ensure success by initiating actions in direct response to ideas of participants.57 These actions do not 53 Driskell, Creating Better Cities with Children and Youth: A Manual for Participation, 52. 54 Ibid., 76. 55 Hart, Children's Participation: The Theory and Practice o f Involving Young Citizens in Community Development and Environmental Care, 28. 56 Ibid., 29. 57 Driskell, Creating Better Cities with Children and Youth: A Manual fo r Participation, 18. 21 have to be large in scale; they just need to be initiated in a way that youth see their visions validated by adults. Youth must engage members of their community at some point in the process of the workshop. They need to interact with adults outside the classroom to truly feel the impact community projects can have. Hart suggests that youth communicate findings of their research to the larger community.58 He encourages adults to help youth investigate "their own communities in ways that will heighten their awareness of the need for a people-centered approach to development."59 We also learn the importance of taking time for reflection.60 While in the process of a workshop, it is easy to get caught up in the goals and actions towards those goals. Reflection can be a powerful tool to reevaluate and even readjust the direction of a project. Without taking this step, without allowing for flexibility to change the course of a workshop, the ultimate result may fall short. Public Participation and Consensus Building Although I did not find a specific definition of participation, The Consensus Building Handbook describes two types of participation, open and representative: Open participation means that all individuals who are affected by a problem are invited to participate. Open participation works best when the number of people involved is manageable, interest in the issue is high, and any agreement will require broad-based support for implementation.. . In a process with representative participation, individuals who represent different interests and concerns are designated to participate on behalf of other individuals 58 Hart, Children's Participation: The Theory and Practice o f Involving Young Citizens in Community Development and Environmental Care, 20. 59 Ibid., 8. 60 Cahill, Defying Gravity? Raising Consciousness Through Collective Research, 277. 22 who share the same concerns. . . . it is the job of the representative to maintain ongoing communication with his or her constituents.. .61 These descriptions illustrate the reasons for choosing a particular type of participation for a project, but why would one include the public in any sort of decision-making process? According to some authors, the more people one involves in a process, the more mediocre and unimaginative the solution becomes.62,63 Kaner states that one of the benefits of participation is the longevity of proposed solutions, "if people don't participate in and ‘own' the solution to the problems or agree to the decision, implementation will be half-hearted at best, probably misunderstood, and more likely than not, fail."64 Other benefits of participation include an increased awareness of issues that a community or organization face, empowerment to find and implement solutions, and an increased sense of ownership in a community. Mutual benefit and reciprocity are also important, according to Eichler, "if you show people the benefits they will receive in supporting your effort, you greatly increase the chances that they will see value in participation."65 Another key to fostering participation is finding a common issue individuals can rally around. "We solve problems together when we have the same problems."66 Consensus organizing is not a technique used to convince a group to agree upon a predetermined goal; rather it is working with all kinds of individuals and organizations to find mutual benefit, and using their knowledge and skills to tackle specific issues. One of 61 Susskind, McKeaman and Thomas-Larmer, The Consensus Building Handbook: A Comprehensive Guide to Reaching Agreement, 91. 62 Schrage, No More Teams! Mastering the Dynamics o f Creative Collaboration, 202. 63 Kaner, Facilitator's Guide to Participatory Decision-Making, xiii. 64 Ibid., vii. 65 Eichler, Consensus Organizing: Building Communities o f Mutual Self-Interest, 220. 66 Ibid., 36. 23 the great benefits of consensus is its ability to solve some of the most difficult problems our society faces. More often than not, a single individual does not have the creativity or resources to confront community challenges. Diverse solutions can be explored if multiple individuals are involved in problem-solving. "One of the greatest advantages of team work is that it allows [the team] to use the specialized characteristics, interests, and specialized knowledge of the members for the multiplied benefit of the whole project."67 According to Kaner, the four steps required to build a sustainable agreement are: "gathering diverse points of view; building a shared framework of understanding; developing inclusive solutions; reaching closure."68 In Nothing Never Happens, the editors outline guidelines helpful in reaching consensus, which are: Avoid arguing for your own individual judgments. .. .look for a solution that is most acceptable for all group members. . . .Avoid changing your mind only in order to reach agreement and avoid conflict... .Avoid ‘conflict-reducing' techniques such as majority vote, averaging, or trading in reaching decisions... View differences of opinion as helpful rather than as a hindrance in decision­making. 69 It is necessary for those engaged in consensus building to allow for diversity of opinion. Throughout the process, an increased understanding of other points of view is essential, and facilitates bonding among participants. By virtue of definition, consensus groups must finding solutions that all can feel comfortable with. "Consensus organizers take real pieces from each perspective and weave them into one supportive perspective."70 The benefits are clear: the more consensus exists, the better the solutions to be implemented, the greater chance of bonding among participants, and organizations are 67 Proctor, Civic Communion: The Rhetoric o f Community Building, 47. 68 Kaner, Facilitator's Guide to Participatory Decision-Making, xvi. 69 Johnson, Senatore, Liebig and Minor, Nothing Never Happens, 59. 70 Eichler, Consensus Organizing: Building Communities o f Mutual Self-Interest, 98. 24 more committed to a proposed change because it has been ensured to be in their best interest. These ideas, from Freire to PAR, have taught me to dig deeper, involve others more, and to reflect on and utilize experiences to inform future endeavors. One commonality I found with all of them is their acknowledgement of individual potential. We have the capacity to do great things, whether on our own or in a group. Many may need a push to help us begin to explore what we can accomplish. I see the arts as a great catalyst for individual and collective change. Through the arts, ideals can be expressed universally and shared with those of different backgrounds. Imagination and creativity, essential talents for all endeavors, are nurtured through art-making. In addition, art often creates a tangible reminder of individual or group efforts, continuing to prove to its creators that they can positively affect their world. BEST PRACTICES In preparation for my community art endeavors as a graduate student, I researched "best practices" from various organizations engaged in similar work. 71 I wanted to find the elements others describe as essential to successful collaborative artistic enterprises. I found that the main practices necessary to create effective social change projects include: • Balance between structure and flexibility. • Utilize methods of hands-on learning, apprenticeship and use of technology. • Provide clear, attainable goals. 71 The three main resources I culled from were Coming up Taller (http://www.cominguptaller.org/report_pp.html), East Bay Institute for Urban Arts (http://www.urbanarts.org), and YouthARTS (http://www.artsusa.org/youtharts/bestpractices.asp). 25 • Provide opportunities to succeed, have high expectations. • Keep classes small. • Build on what young people already value. • Provide youth with accessible and safe haven. • Programs are voluntary, shaped by youth themselves. • Provide trained staff and volunteers; provide quality programming. • Clearly define the program goals and intended outcomes. • Monitor and document the program. • Build in evaluation of program at onset • Recognize positive adult relationships. • Work in partnership with parents. • Commit for the long term. , • Provide gateways to other services for children. • Utilize art to increase self-esteem. • Cultivate trust, mutual understanding and commitment. • Research, gather information with students. • Efforts are collaborative. • Recognize and involve the community. • Utilize age-appropriate curriculum. • Culminate in a public performance, exhibition, and/or public recognition. Every project and community is different, therefore not all practices will work well for all groups. After analyzing all practices, I endeavored to implement those that seemed most appropriate and realistic for the population and situation. Throughout my work I found 26 that some of the most important of these practices were: to provide opportunities to succeed, commit for the long term, and make sure efforts are collaborative. In order for youth to envision themselves as agents of social change, they must witness some form of transformation. When they see success from their efforts, students can then begin to imagine possibilities they may have previously dismissed as unattainable. Having participated in many short term art projects, I have discovered that I can develop more meaningful collaborations when working over longer periods. Because I have taught consistently at the Neighborhood House over the past two years, I have developed a more lasting relationship with the students and staff. The students recognize me as one who encourages their creative expression and is committed to fostering their artistic growth. I think they enjoy knowing my name and that I will return to work with them again. THE GLENDALE MIDDLE SCHOOL MURAL During my tenure in the MFA program, I embarked on a large mural project involving students at Glendale Middle School. Located at 1430 Andrew Avenue in Salt Lake City, the youth in this neighborhood are energetic and ethnically diverse. Glendale is a Title 1 school, which connotes that a majority of its students come from low-income households. The mural we painted is 24 feet high by 100 feet long, created using the parachute cloth method, and occupies a prime location in the center of the school. Adorning their "commons area," the mural is seen by all who enter and exit the school, is visible from both the first and second floors, and can be gazed upon during lunchtime by 27 all the students at Glendale Middle School. It truly is a focal point of the site, so was designed with a number of viewers in mind. Incorporating colors and cues from the building itself, I created a composition of ribbons that climb/hang from the wall and weave in and out of each other. These ribbons are representative of the diversity of students and diversity of thought that exist at Glendale. Weaving in and out of each other, the ribbons interact and influence those around them. Yet, their influence is not destructive, rather it creates a unity that strengthens the group as a whole. Superimposed on these ribbons is a map of the world. The map signifies the international background of the student body, as well as serves as a teaching tool, outlining the continents for viewers to study. Figure 1. Glendale Middle School Mural Design, acrylic on mylar. Ideally I would engage students in various steps of the creative process for a project like this, including mural history, painting techniques, collaborative composition, and field trips to gather inspiration from other artists in person. Because approximately 1000 youth were involved in its creation, I designed the overarching composition myself. Individual expression was ensured by allowing every student to have their own 12" x 12" piece of the mural to paint. Each student was encouraged to create an image related to the part of the world they were painting in. Their only limitation was color, which I mixed 28 using lightfast acrylic paint. Four colors for each square were created, distributed in labeled squeeze bottles to minimize confusion. The mural has 48 distinct, consistent colors. This constraint allowed for dynamic individual expression to be seen up close, and a unified over-arching composition in view from farther away. Parachute cloth mural creation was first perfected by artist Kent Twitchell, who has been creating photo-realistic figurative compositions using this method since the 1970s. These murals are painted on panels and then installed onto the wall permanently with acrylic gel. Many artists use this medium because they are able to achieve greater detail than painting directly on the wall. This is due to the fact that the most walls have divots and a generally rough texture, contrary to the smooth cloth. Some prefer the cloth because they are able to transfer their mural design more accurately. Instead of using the grid method, artists will project the design onto the cloth in their studio. This technique is especially helpful for getting the proportions correct on very large portraits. Parachute cloth mural-making allows for great flexibility in working; the whole mural can be painted anywhere, not just at the site of the wall. I find this process especially useful when creating murals with youth. Because children cannot climb scaffolding, their interaction with large compositions is often limited. Students working on the Glendale project painted the whole mural, not just the bottom of it. Their creation is a diverse, engaging record that will hopefully bring pride to their creators, and the school community, for years to come. One of the most unique and challenging aspects of this piece was my interaction with numerous individuals from various locations. I continually communicated with the architects of the school itself, Gillies Stransky Brems Smith, to ensure the vision I had of 29 the mural coincided with their vision of the new school building. I worked with the principal, teachers, and custodians at the school to coordinate student involvement with the mural and proper stewardship of the space. Glendale's five feeder elementary schools: Edison, Jackson, Jackson, Mountain View, Parkview, and Riley also participated in painting the mural. Future students of Glendale were able to complete sections they will view when they age out of elementary school. I found that despite my efforts and their promises otherwise, some teachers and schools participated in this project more than others. This left many sections of the mural unfinished when it came time for installation. I learned from this experience that the teachers need more support from the outset of a project of this magnitude. Pressured from many directions to ensure their students perform to mandated measures, teachers may have great interest in art projects but lack the time or resources to allow their students to contribute. In some instances, the principal of a school became captivated by the opportunity to participate in the mural, and committed his or her teachers to executing it without consulting them first. In future endeavors I plan to work more closely with individual teachers to make sure their needs are met, and that they are personally, not just administratively, committed to the project. As I was working on the installation of the mural one day, I overheard a few students discussing it. One pointed to a section, telling his friends he created it. I knew otherwise. He saw something he liked and decided to take credit for it even though it was not his. This is the second time I have encountered this variety of ownership, and I find it fascinating. I think youth see something great, a work that inspires others, and want to be a part of it. I feel that even though this student was deceiving his friends in hopes of 30 earning bragging rights, he taught me that ownership and pride in artwork extends beyond those involved in its creation to include those it inspires. Figure 2. Glendale Middle School Mural installation. GROWING NEIGHBORHOOD-. THE NEIGHBORHOOD HOUSE MOSAIC "Sarah, I want to talk to you," Anne says in a serious tone on the last day of the Art in the Community workshop at the Neighborhood House. I follow her nervously into the hallway next to the classroom, worried that she is going to tell me about a grave problem with one of the students. "I just want to tell you that these kids have the hardest time doing any activity for more than five minutes. The fact that you guys are able to get 31 them to work on a project for a whole hour is huge. I just want you to know that the kids are really into the art." This was the highest compliment Anne could give. The mission of the Neighborhood House is to "provide quality day care and supportive services for children and adults based on their ability to pay." This organization has been a part of Salt Lake City since 1894, and is located at 1050 West 500 South.72 When I first visited Neighborhood House, I was struck by how loving the environment was. The staff here deeply cares about their students, and work diligently to give them the resources most needed for their growth. After talking with the teachers and staff about what kind of art activities they wanted to see at this site, I put together some teaching objectives for my time there. They included: • Enable students to be proud of art-making, and not critical of artistic ability. • Teach students techniques involved in creating ceramic/mosaic mural. • Engage a variety of ages in project. • Instruct Neighborhood House's teachers in art-making skills; help them gain knowledge of materials and become confident in coordinating similar projects with their students. • Purchase books and/or resource manuals for teachers to refer to while creating similar projects in the future. In addition, I created some formal objectives for what the final piece would include: • Utilize a variety of materials. • Create a design that has multiple textures and surface types. 72 http://www.nhutah.org/ 32 • Create a cohesive composition that allows for students' individual expression. • Design a piece that will satisfy vision of board members and director and will endure years of changing visual styles/tastes. • Ensure safety - no sharp or rough edges, no elements that poke or stick out, etc. • Emphasize existing Neighborhood House sign. During my two years at Neighborhood House I had the pleasure of teaching approximately 200 children ages 2-12. Dozens of adults were also involved in the creation of this project, including teachers and board members from the Neighborhood House, as well as students from the University of Utah Art in the Community class. The mosaic fills about 90 percent of the entrance wall, which measures approximately 9 feet high and 18.5 feet long. A colorful collage created from the students' artwork served as the design for the mosaic. It depicts large flowers, insects, a sun, and a watering can. These images symbolize diversity, nurturing, and are also eye catching. Many unique flowers exist, just as there are many unique individuals. And we all have distinct beauty. Always growing like flowers, we need a good, helpful environment to survive. The Neighborhood House has nurtured generations of individuals, both young and old, and continues to support the diversity of the population it serves. ' I structured lessons sequentially; students worked at a comfortable pace, familiarized themselves with the materials, and created small pieces that they took home with them. For example, we experimented with paper mosaics at first instead of the more expensive glass or ceramic. In another activity, we attached glass and plastic tiles to wooden frames that the children kept. This project not only gave the students a good 33 introduction to mosaic techniques, it also provided excitement for the project by allowing them to show off their work to families and friends. Figure 3. Youth gluing tiles to mosaic. Students at the Neighborhood House learned many nuances of clay sculpting and tile assembly while creating ceramic tiles for the mosaic. Working from the group's design, students at the Neighborhood House glued mosaic and sculpted ceramic tiles onto cement board. The tile was grouted, and then boards were then securely installed onto the wall of their front entrance. Bolting the sections of the finished mosaic was quite challenging. As a community member and I drilled holes into the wall we discovered that it was much too tough for the equipment we were using. We spent a week asking friends 34 and staff advice on how to solve our dilemma, and found a solution that worked very well. This example helps to again illustrate the collaborative nature of our work; even the installation of the mosaic was a group effort. The variety of materials used in this project serves not only to provide visual interest, but also adds a textural layer of interaction with the piece. Viewers young and old can both see and touch the work. Mirrored tile is incorporated in sections of the mosaic, allowing for viewers to literally become a part if the art they are gazing at. They can envision themselves as a piece of art, and as a beautiful, growing flower. Viewers can see that each individual piece of tile has a shape and a position of its own, yet it works with those around it to create a grand, impressive design. Alone we can accomplish a little, but together we can achieve remarkable feats. One of the central goals of this project was sustainability. I periodically taught the teachers ceramic and mosaic techniques so they can continue to work with the students and expand the project beyond my two-year involvement. For instance, up until this point only visiting artists, not Neighborhood House teachers, have used the kiln that exists at the site. I conducted a workshop on working with the kiln, and continue to encourage teachers to continue to create clay projects with the youth. I purchased mosaic and ceramic books that describe techniques and projects the teachers can implement in their classrooms. My original plan was to conduct scheduled monthly art workshops at the Neighborhood House. I have since learned that informal meetings have been the best way to interact with staff. I also learned to appreciate the impact of having the teachers present in the classroom as I teach the students. They have learned in an active, hands-on manner which will increase their ability to recall and implement these techniques. Students and 35 teachers were being exposed to materials, vocabulary, and art techniques they would not normally interact with. I strove to create a curriculum that was complimentary as well as additive. I learned that creating projects that complement the work teachers already do, and giving them added skills if they are interested, was an effective method of interaction. Students from the University of Utah helped to teach some of the workshops conducted at the Neighborhood House. Thirteen total individuals, from two separate semesters, chose this project for their Art in the Community class. We all wore University of Utah t-shirts to not only identify who we were and where we were from, but to also get the children to begin thinking about college as an option available to them in the future. The youth at the Neighborhood House responded very positively to their interaction with these college students, and gained greater understanding of the purpose of higher education. We even heard youth, after interacting with the University of Utah students, talking about college and what they plan to study when they go to a post­secondary institution. One of the biggest challenges I have faced during this project is the wide variety of ages I worked with. It has been difficult to find age-appropriate activities that allowed all to contribute to a cohesive final product. Because I taught so many different ages, I had to creatively engage all levels in the creation of this collaborative work. The task that all youth performed with equal ability and vigor was the smashing of ceramic tiles for the mosaic. Donned with safety goggles and gloves, every student skillfully and willingly broke tiles into pieces to be later glued to our mosaic. 36 Figure 4. Smashing tiles. Once Growing Neighborhood was completed, parents, community members, staff, and fellow students honored the accomplishments of the youth. They heard about the process and ask the students questions about their work. Youth pointed out their contributions, proudly showing others which areas they remember making. All attending the mosaic unveiling enjoyed approaching the piece, exploring its varied textures, and looking at the different shapes and colors of individual tiles up close. The youth received many accolades, and will hopefully now be more motivated to participate in community change initiatives in the future. I feel that this mosaic has not only been a good experience for the youth and staff at Neighborhood House, it also has captivated their board of trustees. They have 37 repeatedly thanked me for my work with the youth and expressed their excitement about what we have created together. Because this project has had such a positive influence on the students, board members have begun working to provide other art experiences for the youth. Due to efforts from its board members, Neighborhood House has recently partnered with the newly formed nonprofit, 337 project. Together they will support transitory works by local artists that will begin adorning the outdoor spaces of the Neighborhood House next month. Throughout this project, I have learned quite a bit. The most difficult lesson was that I need to be careful when relying on opinions of others. The mosaic was delayed considerably because I was given insufficient advice at its onset. I structured many weeks around a certain method of mosaic installation, and discovered in the midst of the workshop that the technique may not be reliable. I learned that it is okay to rely on experts to help with skills you may not know yourself, but you must be extra careful in choosing who you depend on. I have learned that the more nurturing the environment, a better quality of artwork will result. Yes, there are talented, creative artists in every community center around. But there was more creativity and skill in the artwork at the Neighborhood House than what I have seen before in similar workshops. I think this is due to the supportive attitude of the staff members, who maintain a structured yet enjoyable and nurturing classroom. I worked to foster an environment of safety and mutual respect during all of my time at the Neighborhood House. 38 ---- *»<■ ' ' ..... w b m w w > in . 11. • ylihi tut >. ^gz,' Figure 4. Growing Neighborhood, handmade, ceramic and glass tiles on wonderboard. CONCLUSION Much experiential knowledge has been gained by working on these two community art works. I discovered that much can be gained when working in unfamiliar mediums. Not only did I learn new techniques, specifically mosaic creation and parachute cloth mural making, I also found that my struggles while learning yielded surprising results. Maxine Greene talks about the value in defamiliarizing things, "to make them strange."73 As I was navigating uncertain artistic territory, beautiful things occurred. Many community art projects exist both throughout history and throughout the world. We see some projects involve individuals more extensively, considered open participation, while others are led by single artists or committee, or representative 73 Green, The Dialectic o f Freedom, 122. 39 participation.74 I have found myself drawn toward a more democratic and inclusive process, involving community members in as many of the decision-making and creation activities as possible. Aesthetically I feel that the product becomes much richer and varied when many hands work to make it. Throughout the process I find myself continually inspired by the contributions of others and enriched by their involvement. Although I personally strive toward higher involvement in community-based art, I feel that any quality, collaborative art can inspire, even if levels of participation are limited. Both my mural, created with limited participation of students, and my mosaic, with more extensive participation by youth, are works that instill pride in their creators. Big projects created over long periods are ideal, but I learned not to discount the impact of smaller more immediately produced artworks, such as the mosaic frames my students made in an hour. Most of the students fondly remember creating those frames, even though almost two years have past since we made them. I discovered that one element missing from my research into best practices is the importance of working with unique, high quality materials. Students very seldom interact with more than basic art supplies such as pencils and paper. When we experimented with pastels, clay, and mosaic supplies, the students were more engaged and their work was more creative. In order for them to begin imagining themselves as artists, providing them with true art materials is an important first step. One added bonus from my experience in these projects was my extensive interaction with other art students. I found that collaborating with the Art in the Community students, as well as my fellow graduate students, was quite enjoyable and 74 Susskind, McKeaman and Thomas-Larmer, The Consensus Building Handbook: A Comprehensive Guide to Reaching Agreement, 91. 40 inspiring. Although working with site staff and youth and is quite fulfilling, I was personally enriched by my conversation with fellow university students. I plan to continue to seek out ways to collaborate with other artists in future. Creative problem solving extends far beyond design process. Time and again I would use my imagination for figuring out how to solve logistical issues, scheduling conflicts, installation procedures. I am grateful to know that my skills as an artist extend beyond painting a canvas, and I hope to continue to find ways to teach creativity and imagination, using art as my primary teaching method, for that is a skill that all students will need to face the challenging world ahead. While some in the community arts field continue to debate whether process or product is more important, my experience shows that both can be equally powerful. Youth as young as kindergarten age remember our lessons. Months after painting a section of a mural or gluing tiles they proudly point out their contribution. A thoughtful process can help youth learn to work with others, and will provide the skills for them to create future projects in their community. The beauty of the product helps them to understand the significance of their contribution and illustrates the transformative power of imagination. If a finished piece has a high aesthetic quality, we can see that our efforts are worthwhile and will more likely embark on future collaborative endeavors. This may be the end of my master's degree work, but for me it is just a beginning. "No accounting, disciplinary or otherwise, can ever be complete. There is always more. There is always possibility. And this is where the space opens for the pursuit of freedom."75 75 Green, The Dialectic o f Freedom, 128. BIBLIOGRAPHY Addams, Jane. "Art Work" in 100 Years at Hull-House, edited by Mary Lynn McCree Bryan and Allen F. Davis. Bloomington: Indiana University Press, 1990. Agostinone-Wilson, Faith. "Kit Crafts and the People Who Make Them: A History of Pre-Packaged Pedagogy Since 1930" in Histories o f Community-Based Art Education, edited by Kristin G. Congdon, Doug Blandy, and Paul E. Bolin. 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