Community Arts
Community Art could be loosely defined as a way of creating art in which professional artists collaborate more or less intensively with people who don't normally actively engage in the arts. Community arts, also sometimes known as "dialogical art", "community-engaged" or "community-based art," refers to artistic activity based in a community setting. Works from this genre can be of any art forms and is characterized by interaction or dialogue with the community. The term was defined in the late-1960s and spawned a movement which grew in the United States, Canada, the UK, Ireland, and Australia.
Often community art is based in deprived areas, with a community oriented, grassroots approach. Members of a local community will come together to express concerns or issues through an artistic process, sometimes this may involve professional artists or actors. These communal artistic processes act as a catalyst to trigger events or changes within a community or even at a national or international level.
In English-speaking countries community art is often seen as the work of community arts centre. Visual arts (fine art, video, new media art), music, and theater are common mediums in community art centers. Many arts companies in the UK do some community-based work, which typically involves developing participation by non-professional members of local communities.
Read more about Community Arts: Community Art and Public Art, Online Community Art, Community Theatre, Key Artists
Famous quotes containing the words community and/or arts:
“The people needed to be rehoused, but I feel disgusted and depressed when I see how they have done it. It did not suit the planners to think how they might deal with the community, or the individuals that made up the community. All they could think was, Sweep it away! The bureaucrats put their heads together, and if anyone had told them, A community is people, they would not have known what they were on about.”
—May Hobbs (b. 1938)
“I havent seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were asked this week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the companys behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.”
—Anna Quindlen (b. 1952)