I like to imagine that much of Popular Culture was forged from Community Arts workshop practice. After all, the international phenomenon that is Blood Brothers started life as a theatre in education piece touring primary schools; Squid Game is nothing more than a reworking of Grandma’s Footsteps (with Kalashnikovs) and the recent meeja mover and shaker – The Traitors – can trace its DNA back to the classic drama workshop warm up exercise, Wink Murder. There’s nothing it seems Community Arts practice can’t see itself in when it comes to understanding Popular Culture. Perhaps this is understandable, given that you might like to believe that ‘popular’ has something to do with the notion of the communities we live in. As Co-pilot likes to point out:
“Defining the origins and influence of community arts practice can sometimes blur the lines between grassroots creativity and mainstream success. The intersection where local traditions meet widespread acclaim often creates a fertile ground for the birth of popular culture.”
‘Fair point, Co-Pilot,’ I think but ask in return, “but what about current Community Arts practice then? How does that look different to what we used to recognise as Community Arts practice? After all, it’s been about 20 years since I last set foot in a proper community arts workshop.
I imagine that It’ll be like trying to ride a bike again after having been off the roads only to find that the pleasant country lanes you used to amble down have turned into dual carriageways and are infested by speed cameras. Remembering all the necessary moves, the highway code and how to navigate people through these processes has all coming flooding back in the strangest of moments. I’d forgotten the delights and possibilities of ‘Gnomes, Witches and Elves’ until writing this blog and straight away I’m wondering about the Popular Culture spin offs. Perhaps Co-Pilot will know?
Of course, one of the first things you had to get to grips with early on was the dreaded name game; an attempt to elicit some information from your participants about who they are, where they’re from and what their favourite pot noodle is. This gets problematic when you forget the rules so that some poor unfortunate soul at the end of a circle of 42 people has to remember everyone else’s names, gestures and personal morning habits. It gets even more problematic if you’ve spent many of your last ten years in bars of various descriptions only to find yourself with your memory shot to pieces, and unable to remember the name of anyone who you last spoke to not just 5 seconds ago.
The advent of Facebook, Insta, Diddly-Squat.Com and all those other social meeja channels means that personal disclosure in this context is now a lot more problematic. There are now many distinct possibilities for you to get to know much more about your fellow participants and workshop leader than they may feel comfortable with disclosing during those early first session gambits. You can find out various intimate things about them, read opinions about them and formulate your own idea about who you’re working with to a much greater degree than you could in 2005. The naming of your fellow participants is not only the problematic naming ceremony in this neck of the cultural woods. The naming of the practice – “Community Arts” – still causes many people to come out in a kind of ideological rash.
“Community Arts – What’s That Then?” was a common gag at LIPA thirty years ago and it still leads to endless hours of description, analysis and definition amongst everyone who finds themselves embroiled in its reach. Over the years it’s been recast as ‘participatory arts’; as ‘arts in a social context’; as ‘voluntary arts’ and all manner of other descriptions which desperately try to avoid the ‘c’ word. This is hardly surprising given how the ‘c’ word has been misappropriated by so many over so long; but nevertheless, the preponderance of alternatives never quite manages to kill the term, ‘Community Arts’, stone cold dead.
But in the time it’s taken to imagine the recombination and resurrection of Community Arts, Co-Pilot has managed to address these imaginations with it’s own speedy assessment of both ‘The Evolution of Community Arts Since 2005’ and ‘The impact of ‘Gnomes, Witches and Elves’ on Popular Culture’ which you can read below, if you’re so inclined.
Anyone up for a Harry Potter workshop at this year’s reunion?
1. The Evolution of Community Arts Practice Since 2005 (as described by Co-Pilot)
Introduction
Community arts practice has undergone significant transformations since 2005. The changes in this field reflect broader societal shifts, technological advancements, and evolving cultural policies. This document explores these developments and their implications for community artists and the communities they serve.
Increased Technological Integration
One of the most notable changes in community arts practice since 2005 is the increased integration of technology. The advent of social media platforms like Facebook, Instagram, and Twitter has revolutionized how artists and communities interact. These platforms allow for greater visibility, networking, and collaboration, breaking down geographical barriers and enabling global community engagement. Digital tools and software have also enhanced the creative process, allowing for more sophisticated and accessible production of art forms. Online workshops, virtual exhibitions, and digital storytelling have become commonplace, expanding the reach and impact of community arts projects.
Shift in Terminology and Perception
The term “community arts” has evolved, with various alternative labels such as “participatory arts,” “arts in social contexts,” and “voluntary arts” emerging. This shift reflects an ongoing effort to redefine and broaden the scope of the practice, distancing it from preconceived notions and making it more inclusive. Despite these changes in terminology, the core principles of community arts—collaboration, inclusivity, and social impact—remain central. The new labels aim to encapsulate the diverse forms and approaches within the practice, acknowledging its dynamic and multifaceted nature.
Focus on Social Justice and Inclusion
Since 2005, there has been a heightened focus on social justice and inclusion within community arts practice. Projects increasingly address pressing social issues such as inequality, racism, and environmental sustainability. Artists work alongside marginalized communities to amplify their voices and foster social change. This shift towards activism and advocacy is reflected in the themes and methodologies of community arts projects. Participatory approaches that prioritize the experiences and perspectives of community members have become more prevalent, ensuring that the art produced is relevant and meaningful.
Professionalisation and Training
The professionalization of community arts practice has also accelerated since 2005. There is now greater recognition of the skills and expertise required to facilitate impactful community arts projects. This has led to the development of specialized training programs, certifications, and higher education courses dedicated to community arts. These initiatives aim to equip artists with the necessary tools and knowledge to navigate the complexities of working in diverse community settings. They also emphasize ethical considerations, ensuring that community arts practitioners are mindful of the power dynamics and responsibilities inherent in their work.
Challenges and Opportunities
While community arts practice has evolved positively in many respects, it also faces ongoing challenges. Funding remains a significant concern, with many projects reliant on short-term grants and precarious financial support. This unpredictability can hinder the sustainability and long-term impact of community arts initiatives. However, the evolving landscape also presents new opportunities. The increased visibility and legitimacy of community arts practice have opened doors to broader collaborations with institutions, organizations, and policymakers. These partnerships can provide more stable funding and greater resources, enhancing the potential for lasting social impact.
Case Study: Creative Partnerships
A pivotal moment in the evolution of community arts practice was the introduction of Creative Partnerships (CP) in 2002. This initiative aimed to integrate creative practitioners into schools, fostering a culture of creativity and innovation in education. Although CP officially ended in 2011, its influence persists. CP’s ethos was rooted in the principles of community arts, emphasizing collaboration, creativity, and inclusion. However, CP’s reluctance to explicitly align itself with community arts terminology highlighted ongoing tensions within the field regarding identity and recognition.
(Author’s note: thank you Co-Pilot. My feelings entirely. Community Arts seemed to have been completely written off the contemporary cultural education map in 2002 with the advent of Creative Partnerships and all its offspring and mutant cousins. One argument went that the basis of CP practice was based almost entirely on an ethos that is found in the roots, practice and theory of community arts: but given CP’s unending anxiety about claiming that it was never just an arts education programme, it was never then going to admit openly that the arts practice it was predicated upon was that of the ‘c’ word. That would have been a naming gambit one step too far.
Conclusion
The evolution of community arts practice since 2005 reflects broader cultural, technological, and social shifts. While the field has faced challenges, it has also seized opportunities to expand its reach, impact, and legitimacy. As community arts practitioners continue to navigate this dynamic landscape, their work remains crucial in fostering creativity, inclusion, and social change within communities.
2. The impact of ‘Gnomes, Witches, and Elves’ on Popular Culture (as described by Co-Pilot)
The children’s game ‘gnomes, witches, and elves’ has surprisingly left an indelible mark on popular culture. This simple, imaginative game has inspired numerous books, movies, and TV series that explore fantastical worlds filled with magic and mythical creatures. Its influence can be seen in globally beloved franchises such as “Harry Potter,” where the concepts of wizards and witches have been expanded into a rich, detailed universe, captivating audiences of all ages.
Beyond literature and film, the game has also found its way into various aspects of media and entertainment. Fantasy role-playing games like “Dungeons & Dragons” draw heavily on the archetypes of wizards, witches, and elves, allowing players to immerse themselves in epic adventures and magical quests. Even in fashion and art, the aesthetic of these mythical figures continues to inspire and shape trends, proving that a simple childhood game can have a profound and lasting impact on the broader tapestry of popular culture.
(Author’s Note: By the way, which one of you’s Harry?)
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