ART in the aftermath of disasters as a challenge for social workers

1. ART IN THE AFTERMATH OF DISASTERS
AS A CHALLENGE FOR SOCIAL WORKERS

2. PROGRAM
12.25 – 12.35 introduction to the program
12.35 – 13.00 presentation of your objects
13.00 – 14.00 about ART and COMMUNITY Art
14.00 – 14.10 BREAK
14.10 – 14.50 methods
14.50 – 15.00 assignment Friday

3. MIEKE KLAVER AND CAROLIEN VAN DER DONK
 Living in The Hague, Holland
 Working at the Hague University of applied Siences, Faculty
of Social Work and Education
 Teachers in Art: Community Art, Cultural interventions,
Cultural Participation and – Education
Mieke Klaver
a.m.klaver@hhs.nl
Carolien van der Donk
c.t.vanderdonk@hhs.nl

4. ORGANIZING THE CIRCUS IN MY NEIGHBORHOOD
Link to FaceBook

5. DE ELECTRICITEITSFABRIEK THE HAGUE
De Electriciteitsfabriek

6. HOW DO YOU LABEL YOUR OBJECT?

7. CARRIED BY THE WIND BY MERLIJN TWAALFHOVEN
carried by the wind

8. WHY ARTS?
Article 27 of the Universal Declaration of Human
Rights:
Everyone has the right freely to participate in the
cultural life of the community, to enjoy the arts
and to share in scientific advancements and its
benefits

10. ARTS AND CULTURE
 Culture is a framework of behavioral patterns, values,
assumptions and experiences shared by a social
group.
 Art is a reflection of culture.
 Arts and culture bring meaning to life.

11. SOCIAL ASPECTS OF ARTS AND CULTURE
Art
Is an universal language.
Enables people to express
themselves in many ways.
Enables people to express
their individual feelings and
ideas in relation to their
culture.

12. IMPORTANCE OF ART IN EDUCATIONAL AND PEDAGOGICAL
CIRCUMSTANCES
 Art enhances the awareness as
well the understanding of other
cultures and enables to better
understand and communicate.
 Art makes (new) connections
between people, stimulates
coöperation, social cohesion.
Learn to appreciate the
diversity amongst others…
 Everybody has (more or less)
artistic, creative qualities.

13. DEVELOPMENTS IN THE ART WORLD:
 Primitive art
 Religious art in Medieval times + Art the Kings
 Renaissance: the start of the Art Market with bourgeois
commissionairs
 Late 19th century: WHAT is ART

14. SECOND HALF OF THE 20TH CENTURY,
 Kaprow; Life like art and art like
art / Happenings (60ties)
 Joseph Beuys (70ties)
 Bourriaud: Relational Aesthetics
(80ties)
A growing group of artist moves from ‘The White Cube’ to the
heart of society
Community art in the heart of
society

15. # MOVING PEOPLE BY POWER OF ARTHOUSE
Moving People

16. PORTRAITS OF RECONCILIATION BY PIETER HUGO
article about the project

17. WORD WIDE FROCK BY SIMONE MARIA TEN BOSCH

18. FIGHTING THE SILENCE BY IF PRODUCTIONS
Trailer and website

19. BEFORE I DIE BY CANDY CHANG
Interview with Simone
Before I die in Denmark Ted Talk by Candy Chang

20. MAMMA IS COMING SOON BY CHARLOTTE MARRES

21. REGONED BY MARTIJN ENGELBREGT
website of Martijn

22. film face 2 face (short version)
FACE 2 FACE BY JR PHOTOGRAPHER
The inside out project

23. THE NAMES PROJECT AIDS MEMORIAL QUILT
The names project

24. BREAK
Art starts from another perspective to the world: The artist as Change Agent

25. COMMUNITY ART
All kinds of Art Practices in which communities and artists are
involved,that express the thoughts, beliefs and emotions of these
communities.
 is made in interaction or dialogue with the community
 knows a balance between process and product
 a professional artist is involved (artist-in-residence)
 makes visible the invisible
Art made by and with people who otherwise have
very little to do with art, in settings with almost no
artistic or cultural infrastructure.
Discourse about high – low art

26. COMMUNITY ART:
ARTISTS AND SOCIAL WORKERS
Community Art in social artistic projects
focusses on social cohesion, inclusion,
empowerment and participation
By getting people participated in society and
taking control of their own situation
“Community Arts helps them build the skills,
confidence and knowledge to become
autonomous and self-determent actors in their
own stories” - Matarasso (2006) Art in my
neighbourhood

27. SYNERGY THE ARTIST + SOCIALWORKER = 3
 Citizens are supported in their social emancipation
by social and artistic professionals from their own
discipline but both working on the same goals.
 Art is not the (only) aim, but helps to realize the
‘answer’ on the ‘question’.
 Artist and Community Worker need to speak the
same ‘Language’ to come to succesfull projects.

28. STARTING POINT
What is the consequence of
the disaster for the
targetgroup?
Who is my targetgroup?
Aims: what, why, when,
where

29. THE CREATIVE COMMUNITY BUILDERS HANDBOOK
 Asset Based Community Development:
 Starts from strength
 Cross Boundary, re-invent and work
together
How to Transform Communities Using Local Assets, Arts, and Culture
“Efforts to weave multiple endeavors and
professions into the never-ending work of
building and rebuilding the social, civic,
physical, economic, and spiritual fabrics of
communities” (Borrup, 2006:xv).

30. CREATIVE COMMUNITY BUILDERS
 Make new connections
 Make visible what was invisible
 Work from diversity
Within and together with a community

31. FIVE STEPS
1. Assess Your situation and Goals
2. Identifiy and Recruit Effective Partners
3. Map Values, Strenghts, Assets, and
History
4. Focus on Your Key Asset, Vision,
Identity, and Core Strategies
5. Craft a Plan That Brings the Identity
tot Life

32. Film Challenge the obvious, short version
CHALLENGE THE OBVIOUS BY HAAS AND HAEN

33. WHAT DID YOU RECOGNIZE IN THE SHORT FILM
ECONOMIC
① Create jobs
② Stimulate trade through
cultural Tourism
③ Attract Investment by
Creating Live/Work Zones
for Artists
④ Diversify the Local
Economy
⑤ Improve property and
Enhance Value
SOCIAL
① Promote Interaction in
Public Space
② Increase Civic
Participation through
Cultural Celebrations
③ Engage Youth
④ Promote Stewardship of
Place
⑤ Broaden Participation in
the Civic Agenda

34. HOW CULTURE AND THE ARTS IMPACT COMMUNITIES,
SOME RESEARCH RESULTS
PARTICIPATION IN THE ARTS CAN:
 have a positive impact on how people feel, can be an
effective means of health education, provide a unique and
deep source of enjoyment (Matarasso 1997, Use or
Ornament)
 have positive changes in self-motivation, self-respect,
responsibility and the ability to take initiative (Gardiner,
2000)
 Give an economic impulse to a neigborhood (Brouwer,
2012, Trienekens, 2012)

35. HOW
CAN ART BE
OF VALUE IN DISASTERS?

36. LEARN MORE?
• Balancing act 21 strategic dilemma’s in
cultural Policy by Matarasso and Landry
• Craftivsm by Betsy Greer
• Four interviews with artist who work with
active participation of the public by Mieke
Klaver
• Social Design for Wicked Problems by the
New Institute
• The social turn and its discontents by
Claire Bishop
• Use or Ornament by Francois Matarasso

37. DESIGNING TRUST IN YOUR OWN UNIVERSITY
From a personal point of view a school is a place in which we serve
private interests. We labour in order to be able to learn, meet, relax, eat,
etc. There is a public atmosphere, with different actors, with different
needs.
What aspects play a role in designing trust to build a stronger and more
social community at your University?
We invite you to think about this subject and will work with it tomorrow
on three levels:
• Personal
• Institutional
• Society

38. SEE YOU TOMORROW