MESOC Serapeum | Where culture meets AI

Id		199
Author		Brown, A., S.; Novak-Leonard, J., L.; Gilbride, S.,
Title		Getting in on the act: How arts groups are creating opportunities for active participation.
Reference		Brown, A.S.; Novak-Leonard, J.L.; Gilbride, S. (2011). Getting in on the act: How arts groups are creating opportunities for active participation. San Francisco, CA: The James Irvine Foundation.
Link to article		https://irvine-dot-org.s3.amazonaws.com/documents/12/attachments/GettingInOntheAct2014_DEC3.pdf
Abstract

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How might you use participatory programs to forge stronger bonds with your community? .
Participation in Service of a Community Need or Societal Goal. .
Signs of a vibrant culture of active participation are all around us. .
These activities can build loyalty and buy-in to the organizations mission, and foster a sense of community. .
This category encompasses arts programs and projects whose primary purpose is to provide a fulfilling creative experience for those who participate. .
In these programs the participatory activity, however cursory or deep, is in service of a professionally curated artistic outcome. .
Arts groups are devoting a great deal of energy these days to assisting visitors and audiences in having deeper, more meaningful arts experiences (i.e., enhanced engagement). .
1. Community-Sourced Arts Events Build institutional relevance and shift the organizations role from gatekeeper to catalyst of creativity. .
By inviting community members to create, perform and witness, these programs offer shared, meaningful experiences. .
Through participatory arts programs and events, these agencies activate community networks to catalyze, mobilize and facilitate creativity and art-making. .
By activating community networks, these agencies are finding new ways to catalyze, mobilize and facilitate creativity and art-making in their communities through participatory arts programs and events. .
Artists, curators and administrators must quickly embrace the diversity of preferences, settings and formats that will engage the next generation, and the one after that. .
Participatory Arts in Practice Arts groups around the world are responding to the changing landscape of arts participation with innovative programs that actively engage the public in a myriad of ways. .
This category of activity includes arts programs and projects that seek audiences beyond those who participate in the art-making. .
In this sphere of work, artists are challenged to find ways of incorporating input from audiences or community members (some of whom may be accomplished artists) into their work, which represents a fundamentally different approach to artistic creation. .
An exception is the realm of participatory public art, a fun and highly engaging area of artistic work in which visitors touch, climb into, change and otherwise interact with the work, creating a unique experience each time. .
The success of these programs illustrates the potential for achieving a high level of artistic quality through open submission events..
The program commissions artists to create imaginative new work. .
In recent years, researchers have brought to light the vitality of cultural activity occurring outside of the nonprofit sector in more informal or community-based settings. .
The open, free and instantaneous exchange of digital content affords people the resources to control their own creative experiences and make their own meaning. .
This should be distinguished from other types of engagement activities that involve more creative control, such as making a new work of art (i.e., inventive engagement). .
Some arts groups see active arts programs as a means of gaining a more favorable profile in the community, or as a long-term investment in audience development. .
The association between participatory arts practice and increased attendance is positive, but it is a byproduct of a fulfilling expressive experience, not a direct result. .
Driving these programs is a subtle but fundamental shift in self-perception from a producer of professional quality arts programs to a facilitator of creative exchange and aesthetic growth, and a growing awareness of the civic leadership role that arts organizations can and must play in their communities. .
These organizations are building connections between the arts and other community priorities, and increasing the visibility and relevance of the arts by sharing resources. .
The idea that neighborhoods can be magnetized by participatory arts practice is powerful, and it appeals to civic leaders.29 Looking across the research, it seems reasonable to claim that active forms of arts participation generate many personal, community and societal benefits. .
Looking across the case studies, a number of design questions arise for those who plan to conceptualize and implement an active arts program: What form(s) of artistic expression do you propose to engage (e.g., dance, music, sculpture, spoken word)? .
In the crowd-sourcing stage of the involvement spectrum, the audience becomes activated in choosing or contributing toward the creation of an artistic product, typically curated or produced by professional artists. .
This category of activity can be a good entry point for arts groups. .
Others use active arts programming to cultivate donors. .
More research and experimentation are needed to better understand the economics of producing different types of active arts programs. .
Taking the theater for community development genre developed by companies like Cornerstone Theater Company and Augusto Boals Theatre of the Oppressed to a new level, these projects involve community members in the creation of a theatrical production, and in its performance. .
The Arts Ripple Effect, a study commissioned by ArtsWave, revealed that the value of the arts lies in bringing people together and contributing to the vibrancy of communities. .
A new equilibrium is emerging, in which civic cultural leadership not only builds and sustains pillar organizations, but aims to integrate art, culture and creativity into every aspect of community life. .
Many of the current-day examples of crowd-sourcing artistic content are made possible by the ease of sharing digital files. .
The value of the arts in this participatory culture is its ability to connect people through shared experiences and to contribute to vibrant, livable communities.15 .
Few distinctions were offered in reference to participatory arts practice, although the authors noted that creating an original work of art can activate a sense of pride and satisfy a deep desire to leave a legacy. .
While any number of secondary benefits may accrue to the institution, participatory arts programs are intrinsically worthwhile, and essential to a healthy arts ecosystem. .
Their model asserts cultural literacy as the foundation of a healthy cultural ecology, supporting higher levels of engagement such as participatory cultural practice and consumption of professional cultural goods Where do you operate in this system? .
This study uncovered many participatory arts programs designed around specific goals such as social justice, social activism or giving voice to disenfranchised communities. .
THE AUDIENCE INVOLVEMENT SPECTRUM At the core of participatory arts practice is the nature and extent of the audience members involvement in the artistic experience. .
3. Participatory Arts Events Includefestivals and events that celebrate the creative spirit through the act of making art. .
These events encourage artistic participation from anyone and everyone willing to participate. .
These performance events activate a profound level of interaction between audience and artist, involving the audience in the creative process. .
10. Participatory Arts Networks Represent organizations finding ways to facilitate art-making in their communities through events or by providing platforms from which people can engage. .
Theater, music, dance and storytelling programs that involve audience members in an artistic capacity also qualify as co-creation. .
6. Public Dance Events Activate the moving spirit and social camaraderie through dance. .
2. Community-Activated Theater Programs Weave theater into thefabric of peoples daily lives and use theater as a community-building tool. .
Finding the right setting for an active arts program can greatly increase its chances of success.21 The Internet, as a relatively new setting for arts participation, has expanded the definition of community beyond geographic boundaries and added an important dimension to the arts ecology. .

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