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Chapter 1: Introduction Transformative Community Art: Re-visioning the Field of Practice by Catherine Anne McLeod A thesis submitted in conformity with the requirements for the degree of Master of Arts Graduate Department of Sociology and Equity Studies in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Catherine Anne McLeod 2011 Transformative Community Art: Re-visioning the Field of Practice Master of Arts 2011 Catherine Anne McLeod Department of Sociology and Equity Studies in Education University of Toronto Abstract Community art is a multidisciplinary practice that was engendered by two main perspectives on art; a functionalist approach and an „art as essential to humanity‟ approach. These differing ideological positions led to the construction of polarizing dichotomies that divided the field of practice and stagnated the community art discourse. This thesis re-visions community art as transformative community art (T.C.A.) to integrate a diverse range of practice into a distinct, recognizable field, transcend the binaries inherited from its founding fields, and identify the field as an innovative artistic movement and radical practice for social change. In this thesis T.C.A. is employed as a framework for theorizing practice. Threats to T.C.A. from funding structures, cooptation, and institutionalisation are explored and strategies of resistance identified. The concept of T.C.A. is mobilized to identify areas for future work; raising questions and ideas that can contribute to advancing a more complex, nuanced, and productive discourse. ii Acknowledgements This thesis would not have been possible without the support and encouragement of many people. Foremost I would like to thank all of my colleagues in community art. For introducing me to this work I would like to thank INPHRU and Art Jam. For shaping my views and inspiring my thinking, I thank everyone involved with the Culture - Locality and Creativity project: La Casa de los Tres Mundos, El Proyecto Cultural El Sitio, La Comisión Ciudadana en Santa Rosa de Copán, and especially Tiempos Nuevos Teatro and Vecinos for actively engaging with me in my thesis work. I am especially grateful to my colleagues in the culture project team, with whom I was also fortunate to collaborate with in the collective expresarte: Natalie Ramos, Marielena Villalta Pucci, Sophía Herra Castro, Marco Chía, Fernando Franco, and Ricardo González. Your passion and commitment is a true source of inspiration. For introducing me to the community art community in Toronto, being a co-conspirator in community art and academics, and supporting my academic, professional, and personal journeys, I am deeply grateful to Leah Houston. My deepest gratitude goes to David Anderson and my colleagues at Clay & Paper Theatre. David, your vision of theatre as „thinking in public‟, as an integral part of the community and our human experience, and as a defender of public space have greatly shaped my views. I am thankful for all of the talks we have shared over the years and for your unwavering support and belief in me. To my colleagues at Clay & Paper Theatre, I thank you for being overly generous with your time and for taking on additional work so that I could take some dedicated time to work on this project. I could not have completed this thesis if I had not known that Clay & Paper was in good hands with Bernadette Wycks, Larissa Koniuk, Leanne Eisen, and Amira Routledge. At OISE I will be eternally grateful to my supervisor Roger Simon who was my first contact at OISE when I was considering pursuing graduate studies and who supported me throughout this journey. Roger, your clear insight and thoughtful questions clarified my thinking and brought me to new understandings of the work I want to undertake. Thank you for your understanding, availability, and continued support. I am also grateful to Angela Miles, who received my first academic paper on community art in her Community Education and Organizing course and kindly agreed to become my second reader. Angela, your suggestions and questions have made this a stronger thesis and I am extremely grateful for your time and input. I would also like to thank Kristine Pearson, Graduate Student Liaison Officer extraordinaire, for making everything on the administrative side always work out right. I always left your office feeling positive; your encouragement made me feel that this project was possible. I also could not have completed this work without the unwavering support of my friends whom I consider to be my family. For supports too numerous to mention I want to thank Marcia Barry and Nancy Slamet. For encouragement, coaching, and cheerleading I am grateful to Pam Van Nest. For proofreading above and beyond the call of duty, I am indebted to the talented and generous Jody Smith. And for opening their home to me and iii providing an ideal location in which to write, I am grateful to Ivano Stocco and Aitana Guia. Jill Goodreau was my constant companion throughout this masters‟ journey. Jill and I made the decision to go to graduate school, completed our applications, course work, and thesis together despite being in different departments and sometimes in different countries. Jill, I could not have finished this thesis without you. I can never thank you enough for everything you have done for me throughout this process. Your generosity, time, insight, and friendship are invaluable to me. Finally, I want to thank my community at 57 Spencer Ave. who supplied me with companionship, food and drink, a quiet work environment, support with the daily tasks of life, and access to a massage chair and the solace of communal cats. Vince, Jeanette, Henry, John, and Dalal I am thankful that you are all a part of my community. iv Table of Contents Chapter One: Introduction.............................................................................................. 1 Chapter Two: Locating the Field.................................................................................... 7 A Brief History of Community Art and its Developing Discourse……………… 7 Generative Ideologies ………………………………………………………….. 12 Art in the Community/Art for its own Sake ………………….………... 16 Art Education in the Community………………………………. 16 Art for the Community…………………………………………. 23 Art as a Tool …………………………………………………………… 25 Art as a Tool for Social Change…………………....................... 26 Art as Social Work……………………………………………... 29 Reflections on Terminology and Language…………………………………….. 31 The Construction of Binaries and Stagnation in the Discourse……………….... 35 Chapter Three: Transformative Community Art - A Re-Articulation of the Field ………………………………………………………….. 39 Transformative Community Art: Developing the Concept…………………….. 41 Why Transformative Community Art? ................................................... 42 An Examination of the Substantive Components of T.C.A. …………... 48 Transformation…………………………………………………. 48 Community……………………………………………………... 49 Art……………………………………………………….……… 51 What Makes Transformative Community Art Distinct from Other Practices? ………………………………………………………... 53 Summary……………………………………………………………….. 56 Chapter Four: An Example of Transformative Community Art………………….. 57 The Context…………………………………………………………….………. 57 The Mural ……………………………………………………………………… 58 The Analysis: Why this Mural and the Group that created it are an Example of T.C.A. ……………………………………………………… 59 v Transformation…………………………………………………………. 60 Community……………………………………………………………... 64 Art………………………………………………………………………. 66 Discussion: Constructions of Success and Failure …………………………….. 67 Chapter Five: Challenges and Threats to Transformative Community Art …….. 71 Funding…………………………………………………………………………. 71 Doing the Work that is Needed vs. Doing the Work that is Funded: Maintaining a Critical Practice in Transformative Community Art …… 75 Keeping Funders from Defining the Field………………………78 Keeping Funders from Driving the Dialogue…………………... 79 Funding and the Manipulation of Language………………….... 80 Impacts on Community Art Organizations and the Field………………. 82 Instability……………………………………………………….. 82 The Inability to Fail………………….…………………………. 86 Summary……………………………………………………………….. 87 Cooptation……………………………………………………………………… 88 Why is Community Art so easily Coopted?..…………………………... 88 Community Art and Social Services…………………………………… 90 The Effects of Cooptation on Community Art…………………............. 91 Resistance………………………………………………………………. 94 Institutionalisation……………………………………………………………… 96 Professionalisation……………………………………………………… 96 Academia and Community Art………………………………………... 101 Relationship between Community Art and Institutions………………. 103 Summary……………………………………………………………………… 109 Chapter Six: Conclusion…………………………………………………………….. 110 References……………………………………………………………………………. 122 vi Dedication This thesis is dedicated to the remarkable women of Vecinos, Ana, Milagro, Xiomara, and Alice and my inspirational colleagues in the culture project team, Natalie, Marielena, Sophía, Fernando, Chía, and Ricardo. Sagrada Familia lost a valuable resource on December 19, 2008. Also to my Clay & Paper family. vii Chapter 1: Introduction “The goal of Clay & Paper Theatre is to change the world. Completely. Irrevocably.” David Anderson, Clay & Paper Theatre1 “We have two types of puppet shows: good ones and bad ones, but all of them are for good and against evil.” Peter Schumann, Bread and Puppet Theater2 What does it mean when a theatre company‟s primary goal is not to create theatre, but to change the world? How can a theatre company change the world? How does it work to
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