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Rethinking Visual Art Practice in Relation to Well-Being. a Conceptual Analysis

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Rethinking Visual Art Practice in Relation to Well-Being. a Conceptual Analysis 1 JYVÄSKYLÄ STUDIES IN HUMANITIES 256 Päivi-Maria Jaatinen Rethinking Visual Art Practice in Relation to Well-Being A Conceptual Analysis 2 JYVÄSKYLÄ STUDIES IN HUMANITIES Päivi-Maria Jaatinen Rethinking Visual Art Practice in Relation to Well-Being A Conceptual Analysis Academic dissertation to be publicly discussed by the permission of the Faculty of Humanities of the University of Jyväskylä, in Auditorium Historica H320, on 21.8.2015 at 12 o’clock noon. 3 JYVÄSKYLÄ STUDIES IN HUMANITIES Päivi-Maria Jaatinen Rethinking Visual Art Practice in Relation to Well-Being A Conceptual Analysis 4 Rethinking Visual Art Practice in Relation to Well-Being A Conceptual Analysis 5 JYVÄSKYLÄ STUDIES IN HUMANITIES Pekka Olsbo, University of Jyväskylä Annika Waenerberg, Department of Art and Culture Studies Editorial Board Editor in Chief Heikki Hanka, Department of Art and Culture Studies Petri Karonen, Department of History and Ethnology Paula Kalaja, Department of Languages Petri Toiviainen, Department of Music Tarja Nikula, Centre for Applied Language Studies Raimo Salokangas, Department of Communication 978-951-39-6239-5 (nid.), ISSN 1459-4323; 256 978-951-39-6240-1 (pdf), ISSN 1459-4331; 256 Text, images and graphic design by Päivi-Maria Jaatinen © 2015 Jyväskylä University Printing House, Jyväskylä 2015 Correspondence: [email protected] 6 Abstract Jaatinen, Päivi-Maria Rethinking Visual Art Practice in Relation to Well-Being. A Conceptual Analysis. Jyväskylä: University of Jyväskylä, 2015, 322 pp. Jyväskylä Studies in Humanities 978-951-39-6239-5 (nid.), ISSN 1459-4323; 256 978-951-39-6240-1 (pdf), ISSN 1459-4331; 256 This study examines how the concepts related to visual art practice and well-being have been used in the arts and academic sectors. Furthermore, it studies whether it is possible to create a new theoretical and conceptual framework for research. The research material of the arts and academic sectors was examined by the methods of critical review and conceptual analysis. The conceptual analysis led to the following main results: The employment of the concepts concerning the practice of visual arts was diverse, often overlapping, and in some respects incoherent. Both the concepts of ‘art’ and ‘well-being’ were mostly used as reasoning with generalizations. This strategy of discourse was conceptualized as ‘the stated ideal’ of research. A lack of theoretical frameworks and conceptions in regard to both art research and contemporary psychology was discovered. Further study led to the examination of the concepts of subjective well-being (SWB), psychological well-being (PWB), hedonic and eudaimonic well-being (EWB), and flow as a subjective, cognitive-affective experience. A set of relevant conceptions in order to connect the visual art practice with contemporary psychology was discovered. New interdisciplinary theoretical and conceptual frameworks were developed. The principal conceptions of well-being recommended to be applied in research concerning visual art practice are hedonic and eudaimonic well-being as psychological constructs. The new conceptual framework for situationalized and contextualized research takes into consideration the reflective knowledge of art research, and the theories by Waterman and colleagues, Huta, Getzels and Csikszentmihalyi in psychology, and Langer and Dewey in aesthetics. The framework consists of the following conceptions: 1) environment, 2) arts facilitation, 3) arts participation, 4) art activity, 5) artistic process, and 6) artwork. Several research aspects of the conceptions are discussed. In addition, an in situ art workshop research method is introduced. The results provide relevant theoretical support for a new connection between visual art practice and eudaimonic and hedonic well-being. Eudaimonic well-being can be enhanced through the practice of visual arts if the practice is considered as having value, quality and meaning, opportunities for personal growth and self-expression, and the activities and engagement are intrinsically motivated. These notions are conceptualized as the meaningfulness of the visual art practice. The new frameworks can be used when formulating a research question or hypothesis, or when selecting methodology. The study can thus benefit the diverse fields of arts and humanities, practice-based art and design research, as well as health, social and leisure sciences. Keywords: art, visual arts, visual art practice, art activity, arts facilitation, art history, aesthetics, well-being, psychological well-being, eudaimonic well-being, flow, meaningfulness, positive psychology, conceptual analysis, concepts, human- centered service design, interdisciplinary research. 7 Author’s address Päivi-Maria Jaatinen Department of Art and Culture Studies University of Jyväskylä Finland Supervisors Professor, Ph.D. Annika Waenerberg Department of Art and Culture Studies University of Jyväskylä Finland Professor, Ph.D. Jussi Kotkavirta Department of Social Sciences and Philosophy University of Jyväskylä Finland Reviewers Docent, Ph.D. Tutta Palin Faculty of Humanities University of Turku Finland Professor, Ph.D. Satu Miettinen Faculty of Art and Design University of Lapland Finland Opponent Docent, Ph.D. Tutta Palin Faculty of Humanities University of Turku Finland 8 Preface When I began my professional career in the 1990s I was interested in the connection between visual arts, design and well-being. Apart from the few projects which I then designed, the issue of well-being maintained mostly as an interesting sideline in my working life for many years. However, as a lecturer and art and design practitioner, I found myself increasingly raising the question of how art and design could enhance the well-being of human beings. In conversations with different people, the most often misunderstood concept was well-being itself. Many students and professionals had surprisingly ambiguous opinions about well-being, and no current and factual understanding of the concept. I found out that the explanations of possible well-being outcomes were, to a large extent, all-encompassing and extensive. Even though different art and design programmes for promoting well-being have been developed in the European Union during the past decades, a common language and concepts between art and design, health and social sciences and recreation and leisure studies are still largely missing. Meanwhile, the new domains of service and experience design have emerged. There has been a change in perspective as art and design are seen as a means for creating, not only products, but better services and experiences for people, especially in the context of well-being. However, for the development of good art and design practice, relevant and valid research is firstly needed. Good practice should never be considered as a simple set of tools. Vice versa, relevant research requires an epistemological foundation, a theoretical framework, methodology, methods and conceptualizations. Thus, in order to understand how visual art practice in relation to well-being pursuits should be researched, concepts of study have to be problematized. For the benefit of the research, the subject matter has been confined. Artist-facilitated visual art practice in relation to well-being pursuits can be considered as a small sized professional service practice. However, the examination of the use of concepts and the development of a new theoretical and conceptual framework can provide much-needed knowledge to the research of art and design, health and social studies and recreation and leisure studies in general. 9 Acknowledgements For most people the writing of an academic dissertation is a once-in-a- lifetime experience. I consider it as a long rite of passage to academic scholarship and professional qualification as a researcher. This process has taught me to appreciate even more the work that has been done previously by various scholars, designers and artists. Work by precedents is highly valuable for the continuity of research. I want to express my gratitude to the following organizations for supporting my research financially: the Department of Humanities, University of Jyväskylä; the Department of Arts and Culture Studies, University of Jyväskylä; Finnish Cultural Foundation; Finnish Cultural Foundation, the South Savo Regional Fund; Finnish Educational Fund; the Arts Council of Finland and the trade union Akava Special Branches. I would like to offer my gratitude to my supervisor, Professor of Art History Annika Waenerberg for her expertise, suggestions and kindness in the various parts of the research process. I thank Professor of Theoretical Philosophy Jussi Kotkavirta for valuable comments on my work. I want to thank my reviewers, to whom I have deep professional respect: Docent Tutta Palin and Professor Satu Miettinen. I also thank Professor of Art History Heikki Hanka and Publishing Manager Pekka Olsbo, who helped in matters regarding the publication of the dissertation, and Jüri Kokkonen for helping in proofreading. I also want to thank the children and staff of Moisio school and the Moisio and Pirtti day care centres in Mikkeli for their kind assistance in my previous research. My sincere gratitude goes to Pia, Elli and Sanni Lahikainen, Mari Piirainen and Jouni Näätänen as well. I want to acknowledge my indebtedness and gratitude to my mother Tuula Näätänen. She has taught me to love life in all its colours and dimensions. Eine Häyrinen from the island of Ärjä have always been my inspiration. My late great-aunt and great-uncle Typi and Nipa from the same island: I know that you still guard me from heaven above. My friend, Kati Olkkonen-Repo has always supported me. Thank you for the long and deep discussions. Most of all I want to thank my children, Rebekka and Jeremi. You are my constant inspiration and motive for being. To put it simply: I love you. This work is dedicated to you. Thank you for your love. Mikkeli 29.6.2015 Päivi-Maria Jaatinen 10 Contents Abstract Preface Contents List of Tables List of Figures 1. Introduction 13 1.1. Aims 15 1.2. On terms and concepts 18 1.3. The research approach 21 1.4. Research questions 23 1.5. Research methods 24 1.6. The research material 28 1.7. Previous approaches 30 1.8.
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