Saturday, October 29, 2011

Michelle LeBaron

Hi all,

Happy Halloween!

Here is the guest bio for Michelle LeBaron that Joanne and I have come up with. : https://docs.google.com/document/d/1nbyCogp4A3APvlp0pN8776sAErTPrRb8xfG8v0MaF1w/edit

I will also post the link in the Guest Bio section on the righthand side. In addition, Joanne will bring in some print copies of the bios if people want to review next class.

Below we have brainstormed some questions for the class to mull over - hopefully they will also help spark some of your own topics of inquiry:

In our discussion with Michelle LeBaron, it could be interesting to explore her work on conflict resolution as it intersects with the notion of healing or, “Art as Medicine”. In what ways can art be used therapeutically and how does the context of the conflict or post-conflict situation/actors dictate the creative mediation or therapeutic process? Is it naïve to think that a “resolution” is always possible? In what ways can art emphasize the process rather than simply a means to an end.

Dr. LeBaron has also written extensively about art and conflict resolution as used in indigenous cultures. Can these philosophies and practices transcend cultural boundaries and contexts to be used universally? If so, can this be seen as cultural appropriation?

In addition, as an academic researcher, it may be interesting to explore the challenges that Dr. LeBaron has faced or may continue to face in advancing the study of these issues as ‘legitimate/emerging fields’ of inquiry in relatively traditional domains (law, negotiation/mediation). Is there a “hierarchy of values” in the academic world just like we discussed in the art world. Is there particular attention paid to “speaking the language” of those who (often academics or bureaucrats) are skeptical of the field? How does she go about “legitimizing” the work and creating partnerships with specialists from other academic disciplines (i.e. neuroscience). As well, is there ever resistance from the art community to “formalizing” the creative practice?

Have a great weekend and see you all on Wednesday!

- Lindsey

Thursday, October 27, 2011

From Arlene Goldbard's blog...see references to Freire and Leonard Cohen. Well worth a read!

JM

Decolonization: Annals of The Culture of Politics, Part 3

I took part in an arts conference on Monday (more about that in my next blog). In a discussion I moderated on art and civic engagement, speakers had a lot to say about pursuing social change by engaging people in community life and democratic discourse via music, media, dance, drama, and other types of art. An audience member rose to ask the speakers what all of this was in aid of. She wanted to know whether we were in pursuit of the same goals: everyone wanted change, to be sure, but precisely what change?

I consider it a sign of sanity that none of us recited a manifesto or tried to get others to pledge allegiance to a 10-point program. I paraphrased my favorite philosopher, Isaiah Berlin, who said, "Freedom is freedom, not equality or fairness or justice or human happiness or a quiet conscience," pointing out that wherever in history liberty has been reduced to freedom to pursue approved aims, what is at first seen as liberation quickly becomes oppression.

When the questioner persisted, a single word popped into my mind: decolonization.

It came to me then that the Occupy movement is an anti-colonial movement at its core, and that the mounting crackdown is typical of colonizers who fear being ejected from power. As I watched brutal police actions trained against non-violent protesters' civil disobedience in Oakland, the resemblance to anti-colonial movements in the developing world was inescapable. (The Occupy movement needs to learn something essential from those movements about race and gender, though. Keep reading to find out.)

Colonization is a holographic process: no matter which way you slice the body politic, the same information appears: government is in thrall to multinational corporate agendas; they have cannibalized the economy to feed themselves; social institutions are distorted and the public sector weakened by privatization regardless of social cost; communities and families hear the pervasive message that their sufferings are merely private troubles, not the result of these public issues; and even our own imaginations are stunted by limitations on social and personal possibility these conditions create.

That is why no articulation of specific policy demands can suffice. The Occupy movement is a refusal to submit, the first step toward decolonization. I don't claim to speak for anyone but myself, but by decolonization, I mean this:

I want my country to throw off colonization by big corporations and their operatives in government, as early American colonists did, and as colonized people in Africa, Asia, and Latin America broke the control of the British, French, and other European empires. I want self-determination to release the grip of forces that are bankrupting the country financially, environmentally, and morally. Markets can be powerful forces for social good; every human community needs private enterprise. But when markets are dominated by commercial superpowers driven only by the short-term bottom line, social good doesn't come into the equation.

In The Prince, Nicolo Machiavelli advised that it is better to have colonies than fortresses:

A prince does not spend much on colonies, for with little or no expense he can send them out and keep them there, and he offends a minority only of the citizens from whom he takes lands and houses to give them to the new inhabitants; and those whom he offends, remaining poor and scattered, are never able to injure him; whilst the rest being uninjured are easily kept quiet, and at the same time are anxious not to err for fear it should happen to them as it has to those who have been despoiled.

If the shoe pinches, step out of it.

I want us to decolonize public space, stemming the commercialization of absolutely everything that has proceeded from the corporate colonization of America. That means revising our understanding of culture, acknowledging its true value as the matrix, the crucible, in which democratic civil society is forged. To balance private interests, we need ample protected public space in the media for noncommercial discourse, analogous to public parks. We need a public sector that pursues the public interest without big corporations' thumb on the scale, which means taking money completely out of the electoral process: true democratic dialogue without lobbyists and paid advertising. We need a cultural and legal shift that overturns the fiction that corporations are persons with all the attendant rights, instead regulating them with transparency and fairness.

I want each and every one of us to decolonize our own minds, cultivating awareness of the ways we have been persuaded to carry self-harming messages that magnify colonizers' ability to exert control. What do we believe that makes us smaller and less free than we are? What do we believe that makes the colonial powers trying to dominate our nation larger and more powerful than they are? How are we giving our individual and collective agency away to those who wish to colonize our minds?

There is a rich literature of decolonization that treats precisely these questions. You can find brief introductions to some of them in my book New Creative Community: the Martinique-born psychiatrist Frantz Fanon, who came to consciousness of his revolutionary ideas while practicing in Algeria during its struggle for independence from France; or the Martinican poet Aimé Césaire and Senegalese writer and president Leopold Senghor, who promoted the concept of "negritude," so influential in African liberation movements and post-colonial culture.

For me, the Brazilian educator Paul Freire's ideas are extremely powerful. I'll quote my own explanation of one of his core concepts, conscientization, achieving critical consciousness:

Conscientization means breaking through prevailing mythologies to reach new levels of awareness—in particular, awareness of oppression, having been an “object” of others’ will rather than a self-determining “subject.” The process of conscientization involves identifying contradictions in experience through dialogue, thereby becoming part of the process of changing the world.

It's no accident that Freire, Fanon, Césaire, and Senghor were people of color, writing from situations of racial, as well as cultural, political, and economic colonization. With few exceptions, colonial history is the story of white colonizers claiming divine right to dominion over those considered less human than themselves. The Tea Party movement is a kind of populism, despite its being significantly underwritten by a few zillionaires with patently self-serving agendas; but it's also a racist movement, animated by feelings of entitlement to privilege and scapegoating of those who claim equality. What about the Occupy movement? So far, it has failed to call attention to the way race and gender create differential suffering in a society that is unequal as well as inequitable. There is also a deeper discourse of occupation, grounded in the fact that from Wall Street to Oakland, the land demonstrators are occupying was once held in love and trust by the indigenous people rooted there, driven off by earlier occupiers of another stripe. If this movement is to hold the moral high ground as an anti-colonial movement, that has to change.

The contradictions Freire wrote about couldn't be much clearer than they are right now. Each of us has the capacity to see them, to foreclose their mortgage on our mental real estate, to evict them from our minds. In the end, that is the power that can save us.

Seen as anticolonialism, the Occupy movement has moral force, a clear focus on the misdeeds of the colonizers, and the heart-opening will to persist. I am excited to imagine this organic movement learning and growing as its members take part in what can be seen as a vast teach-in on what decolonization means in 2011.

From Leonard Cohen's great live 2009 concert film, "Democracy" goes out to Occupy everywhere.

It's coming from the sorrow in the street,
the holy places where the races meet;
from the homicidal bitchin'
that goes down in every kitchen
to determine who will serve and who will eat.
From the wells of disappointment
where the women kneel to pray
for the grace of God in the desert here
and the desert far away:
Democracy is coming to the U.S.A.

SUBSCRIBE FREE or post comments at arlenegoldbard.com.

READ ABOUT NEW CREATIVE COMMUNITY here.




Sunday, October 23, 2011

Us and Them Show

Hello Everyone,

Who wants to see it? I suggest Thursday, Nov 3 or Friday, Nov 4th.

I can try to reserve for a group if you let me know...or we can go separately.

http://tickets.thecultch.com/show.asp

I will do the booking on Tuesday.

Judith

Friday, October 21, 2011

Community Arts Network

This is the CAN site that Judith mentioned, now archived.
They now have a facebook page and post interesting stuff every day.

Wednesday, October 19, 2011

Class tonight

Hi Everyone,

NO guest tonight - but we do have a very full agenda for the class.

See you soon!

Judith

Friday, October 14, 2011

Ossibussi and The Loveliest Girl in the World


Hi people!

Here is the project I was talking about in the class.
Ossibussi, crosscultural installation on six wheels.
It is a beautiful example of the power of imagination!

I also want to share this community art project by photographer and social educator Miina Savolainen. The project is on tour in North America at the moment.

Tuesday, October 11, 2011

art

an inspiring short film (3 min in length) worth watching...

http://www.youtube.com/watch?v=qpunQZ4cUyI

~amy

Thursday, October 6, 2011

Hi Everyone,

I highly recommended that you look at Headlines' "Us and Them" project.

http://www.headlinestheatre.com/intro.htm.
Lots of clear information about the process and ideas that have fueled the process. Shows that are part of a two-year process run from Oct.21 to November 12.

Happy Thanksgiving (and New Year!) to everyone.

Judith

Guests and Homework

Hi Everyone,

Just to let you know that next week, as planned, we will spend the full three hours together without a guest...to give us time for discussion, including about the four examples of practice you will have researched and have found especially relevant/interesting. We will also have more time within the class for your group creative work.

Here are the URL's that Cyndy was referring to last night:

http://www.mysunset.net/macc/ Moberly Webpage

http://moberlyartsculturalcentre.blogspot.com/ Moberly Blog

http://moberlyculturalherbgarden.blogspot.com/ Moberly Cultural Herb Garden

http://www.art-hereandthere.blogspot.com/ Here & There a community art project
http://www.facebook.com/pages/Moberly-Arts-Cultural-Centre/134412296609110
Face Book

http://somethingcollective.ca/ Something Collective: The Incubator- 3 year studio experiment, locating artist in community

Onward!

Judith

My apologies that this is not the efficient way. Sigh. I will figure it out, I will figure it out...

Forest Hill Cemetery (Boston):
http://sandiercastles.blogspot.com/2008/09/ive-always-beenfascinatedby-words.html
http://www.foresthillstrust.org/
http://www.foresthillscemetery.com/category/news-and-events/

Paula Jardine:
http://vancouver.ca/commsvcs/nonmarketoperations/mountainview/allsouls/index.htm
http://islandsinstitute.com/gallery/Jardine/frontpage.htm

Naomi Stienberg:
http://www.naomi-eliana.ca/

Follow-up from our class last night

Thank-you Judith and Lynn for arranging these amazing invitations to community artists. I find each of the presentations have been inspiring and profound. I wonder about the next one and the next one...delightful anticipation!

Here are several links that follow-up on the discussion from our class last night. I was incorrect about the name of the cemetery in Boston - so, here is the link to the artist and the cemetery for the piece I mentioned on ee cummings (I described it differently - I was inspired by the storytelling at the time and some of the details slipped away - honouring blogs that archive - yeah!):

I believe that the community artist at Mountain View Cemetery is Paula Jardine - here are links to her site and All Souls:

I also include a link to the work of Naomi Steinberg that was mentioned as well:

Wednesday, October 5, 2011

The Belonging Action


Hey everyone,

This is about a community mural painting project I am currently working on . I am a youth facilitator, and I have already learned so much about creative facilitation! Above is an outline of what the mural may look like.

I am putting this here for two specific reasons:

1) I want to know if any of you would like to be a part of this process, by coming to one of the weekend workshops.

And EVEN MORE IMPORTANTLY:

2) Can you forward this information along to any youth that you know who might be interested or would benefit a lot from this process? The mural is about migration and belonging.

Due to a long process that involves a lot of the challenges we have discussed in class, this project was delayed twice and now we are really behind in recruiting youth to participate. All of your help would be so appreciated.

The mural will be put up on the big parking lot wall on Homer and Cordova (a few blocks from our class), so tell your youth that they will get to see their mural up in the downtown!

Here is the pamphlet info:

WE ARE MAKING A GIANT MURAL,
AND YOU ARE INVITED

TBA (The Belonging Action)
is a youth-led project inviting youth and adults
to produce a giant mural that speaks about
the migration of peoples and cultures to this land

Chrystal, Josh, Elaine, Rosa, and Matt, will facilitate free 2day workshops to groups of youth and adults. Through games, storytelling, sketching, and painting, we will together translate through visuals stories of belonging and migration. In this mural, we don’t want to soley represent times in history, but we want to trigger questioning of our histories and lost histories of peoples and cultures coming to this land since time immemorial.


24' X 32' mural will be installed on the exterior wall facing east of PARKADE @ 422 WEST CORDOVA
The painting process is happening inside the top floor of the parkade (P6) Stall 480+

Sign-Up for any of these three weekends

Workshop#1. Saturday, Oct. 8th, 2-6pm & Sunday, Oct. 9th, 4-8pm (Indigenous focus)

or

Workshop#2. Saturday, Oct. 15th, 2-6pm & Sunday, Oct. 16th, 4-8pm

or

Workshop#3. Saturday, Oct. 22nd, 2-6pm & Sunday, Oct. 23rd, 4-8pm (Migrant/Refugee focus).

* We provide snacks and bus tickets
* No Painting Experience Required!!!
* Bring your creative self and clothes that you can wreck with paint
* Come in the Parkade using door on Richards and Cordova. Use elevator to P5, then up the stairs one more floor, and find us on P6 stall 480+. Follow signs.

RSVP with Melanie at lolaschambach@gmail.com or 604.338.2927

Meet Facilitators at TheBelongingAction.com

Monday, October 3, 2011

INCLUSION Art Show

I just found out about this event today and thought it might be of interest to you:

posAbilities is pleased to present its 7th Annual Art Show:

INCLUSION
This event celebrates the unique gifts and talent of artists with developmental disabilities.
October 27th, 2011

For more information, click here.

Some definitions of arts for social change

Hello Everyone,

Here is the document I read from at our last class. I hope it is helpful!

Judith


1. Art for social change has two major forms:Art that is made by professional artists in which social commentary lies in the content of the art « product » itself.

2. Art that is made by "non-professionals" and facilitated by specialized artist/facilitators working with community members. A form of cultural democracy that operates by:

  • Working toward equity and justice
  • Raising consciousness and awareness
  • Fostering individual empowerment and participation
  • Bringing people together and building relationships among individuals and groups
  • Giving voice and telling stories
  • Creating new visions and opening new imaginations for what the world could be
  • Creating imaginative empath
  • Creating dialogue
  • Creating engagement, democratic inclusion, building community capacity

These activities can

Create new forums for expression, discussion and for collaborative inquiry

Provide space for alternative visions

Provide tools and settings for both personal and public expression, and participation

Assert the value of diversity and promote dialogue

Unearth, preserve and extend cultural heritage

Build understanding and imaginative empathy to resolve conflict

Build community solidarity and engagement

Create enlightened public policy (e.g. in community development, health promotion, sustainability agendas)

Create networks (e.g. enable cross-sectoral social innovation)

Build social capital

In many of these forms, the process of art creation is often more important than the product.