Defining Community Art : Theoretical and Practical Reconstruction

Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Visual Studies 2016 Defining community art : theoretical and practical reconstruction Kei Shun, Samson WONG Follow this and additional works at: https://commons.ln.edu.hk/vs_etd Part of the Visual Studies Commons Recommended Citation Wong, S. K. S. (2016). Defining community art: Theoretical and practical reconstruction (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/vs_etd/10/ This Thesis is brought to you for free and open access by the Department of Visual Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION WONG SAMSON KEI SHUN PhD LINGNAN UNIVERSITY 2016 DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION WONG SAMSON KEI SHUN 王基信 A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Visual Studies LINGNAN UNIVERSITY 2016 ABSTRACT Defining Community Art: Theoretical and Practical Reconstruction By WONG Samson Kei Shun Doctor of Philosophy This research investigates the area of practice commonly known as community art, defined to be where a gathering of people participates in facilitated collaborative art making aimed to be increasing their autonomy in generating artistic and social satisfaction and enrichment. This definition is a result of integrating existing research, literature, interviews with practitioners and analyses of their work. It is an interdisciplinary research conducted through a grounded methodology where data from practitioners and literature mutually inform to yield insights into a seemingly unstructured practice. Seven interviewees were chosen to represent a coherent and recognized body of practice. They are practicing visual and performing artists who specialize in facilitating people of communities in collaborative art process. Each having over 15 years of experience in committed engagement with communities, they are also trainers, educators and professionals in various tertiary, cultural and public institutions. They are either based or are/were committed to the development of community art in Hong Kong, and are all experienced overseas1. Their mix of art disciplines and effectiveness across countries indicate a fundamental connection in their view of art and people that is beyond artistic media and cultural context. Thus, a Hong Kong perspective is provided that may contribute to other metropolitan settings in Asia and worldwide. Guided by the data, this research sought theoretical support for the community artists’ operational concepts of art, people, community and participation. The literature drawn include the ethology of art (Dissanayake, Davies), the nature of the experience of art (Dewey), theories of education (Freire, Dewey), theories of community and individuals (Putnam, McKnight & Block), psychological theories on experience and motivation (Csikszentmihalyi, Ryan & Deci), and theories of social psychology on identity and social belonging (Baumeister & Leary, Aron & McLaughlin-Volpe). This interdisciplinary perspective builds a framework that explains how the artistic and social dimensions in community art, instead of being in compromise, can be synergetic. Of special interest are the untapped aspects of Freire and Dewey’s theories often overlooked by scholars of artistic engagement with communities. Requiring expertise beyond a single scholar, this research proposes only one effective integration of the above disciplines. 1 Interviewees currently based: 4 HK, 1 US, 2 UK. This research conceptualizes the development of community art to be an interplay of artistic movements, to progressively seek social relevance from object, place, then to people, and at the same time to return art into the hands of the people. It is a practice distinct but in relation to the overlapping categories of the socially engaged arts, dialogical art, community cultural development, community-based art education and public art (Bishop, Cartiere, Goldbard, Kester, Thompson). The shifting definitions have nurtured a blossoming of artist engagement in the society, but has also resulted in miscommunication of what exactly academics, artists and institutions are planning, funding, doing, evaluating and researching. In contrast to an embracive attitude that has unfortunately led to confusion, this research proposes certain defining characteristics for community art, with implications that seek to further the discourse of artistic engagement with communities. DECLARATION I declare that this is an original work based primarily on my own research, and I warrant that all citations of previous research, published or unpublished, have been duly acknowledged. _____________________ (WONG Samson Kei Shun) Date: CERTIFICATE OF APPROVAL OF THESIS DEFINING COMMUNITY ART: THEORETICAL AND PRACTICAL RECONSTRUCTION By WONG Samson Kei Shun Doctor of Philosophy Panel of Examiners: ____________________________ (Chairman) (Professor LAU Yin Ping Grace) ____________________________ (External Member) (Professor Cameron CARTIERE) ____________________________ (Internal Member) (Professor LUN Miu Chi Vivian) ____________________________ (Internal Member) (Professor LAW Suk Mun Sophia) Chief Supervisor: Professor LAW Suk Mun Sophia Co-supervisor: Professor Mette HJORT Approved for the Senate: _______________________________________ (Prof. MOK Ka Ho Joshua) Chairman, Postgraduate Studies Committee _______________________________________ Date CONTENTS List of Figures……………………………………………………………………………………………….. ii List of Charts………………………………………………………………………………………………… v Introduction ………………………………………………………………………………………………… 1 Chapter 1 Literature Review….…………………………………………………………….. 23 Chapter 2 Methodology………………………………………………………………………. 54 Chapter 3 Data Analysis……………………………………………………………………….. 66 Chapter 4 Art………………………………………………………………………………………… 105 Chapter 5 Community and its People…………………………………………………… 134 Chapter 6 Autonomy……………………………………………………………………………. 172 Chapter 7 Community Artist………………………………………………………………… 191 Conclusion …………………………………………………………………………………………………… 220 Afterword …………………………………………………………………………………………………… 233 Bibliography ………………………………………………………………………………………………... 240 Appendix 1 Colour Plates……………………………………………………………………….. 250 Appendix 2 Interview Logs…………………………………………………………………….. 263 Appendix 3 Consent Form Sample…………………………………………………………. 265 i List of Figures Figure A.1 Pete working with choir in Shenzhen 14 Figure A.2 Evelyna facilitating craft making in Bangalore 14 Figure A.3 Mural creation facilitated by Lily Yeh at the Dandelion School in Beijing 17 Figure 3.1 ‘Kaleidoscope Festival’ facilitated by Hiep in 2007 at California State University, Long Beach 68 Figure 3.2 Sze facilitating dance workshop in 2015 69 Figure 3.3 Final performance of shadow puppet workshop facilitated by Grad in 2014 71 Figure 3.4 Embroidered product by Yunnan ladies 73 Figure 3.5 ‘Catch the Wind Kite Festival’ of 2014 held by More Music 77 Figure 3.6 Drama incorporating rock music and traditional lion dance facilitated by Exist and team 79 Figure 3.7 Veronica as conductor for a playback theatre performance 83 Figure 3.8 Exist facilitating a collaborative storytelling session 83 Figure 3.9 Hiep facilitating circle painting party 84 Figure 3.10 Sze as choreographer and dancer in ‘Breeze Across Us VI’ performance in 2008 84 Figure 3.11 Evelyna teaching simple dance steps during fabric art workshops 85 Figure 3.12 Veronica chatting with the teller during a playback theatre performance 85 Figure 3.13 Grad hosting a Q & A session between performers and audience 86 Figure 3.14 Sze as choreographer and dancer in ‘Breeze Across Us IV’ performance in 2005 86 Figure 3.15 Painting by member of ‘Painting Group Section 1’ in Whitehead Detention Centre 87 Figure 3.16 Exist leading a drumming session with older adults 88 Figure 3.17 Music and movement exercise facilitated by Exist 91 Figure 3.18 Evelyna facilitating drumming and reflex games with other community artists 91 ii Figure 3.19 Project ‘Grandpa Grandma Memory Boxes’ facilitated by Evelyna and team 91 Figure 3.20 Pete performs as member along with younger participants 97 Figure 3.21 Artwork, Sisters, created in collaboration between Evelyna and past participants 98 Colour Plate 5 254 Figure 3.22 Veronica performing as part of the playback theatre ensemble 99 Figure 4.1a Participants were directed to draw circles together on a large canvas 131 Figure 4.1b Participants created cut-out crabs to be placed on the canvas, turning the circles into ripples of a pond 131 Colour Plate 3 252 Figure 5.1 Older adults holding hands in circle to sing and have fun 148 Figure 5.2 Friend of acting participants helped with script copywriting 153 Figure 5.3 Past participants join music theory workshop to improve music composition skills 159 Figure 5.4 Drum team slowly advanced to perform a more difficult piece 160 Figure 5.5 Participants highly focused in painting activities 160 Figure 5.6 People of widely different background participating at the ‘Circle Festival’ in March 2013 at Guangzhou 166 Figure 5.7 Different people of a village participating at musical

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