Community art , also known as social art , community-engaged art , community-based art , and, rarely, dialogical art , is the practice of art based in—and generated in—a community setting. It is closely related to social practice and social turn . Works in this form can be of any media and are characterized by interaction or dialogue with the community. Professional artists may collaborate with communities which may not normally engage in the arts. The term was defined in the late 1960s as the practice grew in the United States, Canada, the Netherlands , the United Kingdom, Ireland, and Australia. In Scandinavia , the term "community art" more often refers to contemporary art projects.
38-538: The Craigmillar Festival Society ( CFS ) was a community arts organisation in the Craigmillar area of Edinburgh , Scotland, that ran from 1962 to 2002. It is regarded as an important contributor to the Community Arts Movement. Many of its productions from 1967 onwards involved Craigmillar Castle . The Craigmillar Festival Committee was established in 1962 by a mothers group at Peffermill Primary School, on
76-410: A panorama , stretching on as infinitely as the community decides to continue building upon the piece. Community theatre includes theatre made by, with, and for a community—it may refer to theatre that is made almost by a community with no outside help, or to a collaboration between community members and professional theatre artists, or to performance made entirely by professionals that is addressed to
114-604: A catalyst to trigger events or changes within a community or at a national or international level. In English-speaking countries, community art is often seen as the work of community arts centers, where visual arts (fine art, video, new media art ), music, and theater are common media. Many arts organizations in the United Kingdom do community-based work, which typically involves developing participation by non-professional members of local communities. The term "community art" may also apply to public art efforts when, in addition to
152-524: A community-led documentary by the CFS in 1991, training manager Tom Farmer explained "we've always tried, and mostly succeeded, to deliver quality schemes. In the last few years, the funding for these government training schemes has been cut dramatically but even so the Society has still succeeded in placing over 100 people per year into full-time employment. At the moment, the Society runs an innovative 'YtE Unify' scheme,
190-406: A festival. Peffermill School Mothers Club responded by knocking on doors, pulling out local talent, and staging a People's Festival of music, drama, and the arts. Crummy explained that "the headmaster said 'sure, it's a good idea, I will show you how to do it. I will not do it for you.' And I think that has been the key, showing us how to do it but we did it ourselves and we've done it since." One of
228-612: A generation of performers. He used the circus for education and community development, working with the children on the streets of the Craigmillar estate in Edinburgh . Reg was born in Margate , England. He was educated at the University of Warwick , where he studied English and European literature. In 2004 he completed a PhD , Why Circus Works: how the values and structures of circus make it
266-413: A larger community. In the process-driven or dialogic model, artists may engage with a group to facilitate an artistic process that addresses particular concerns specific to the group. The use of an artistic process (such as dance or social circus ) for problem-solving, therapeutic, group-empowerment or strategic planning purposes may result in artistic works that are not intended for public presentation. In
304-538: A particular community. Community theatres range in size from small groups led by single individuals that perform in borrowed spaces to large permanent companies with well-equipped facilities of their own. Many community theatres are successful, non-profit businesses with a large active membership and, often, a full-time professional staff. Community theatre is often devised and may draw on popular theatrical forms, such as carnival , circus , and parades , as well as performance modes from commercial theatre. Community theatre
342-587: A range of circus equipment such as juggling gear and unicycles. He was a pioneer in the area of educational community circuses. He wrote and produced many works, including: Reg died unexpectedly while working in Kununurra , Western Australia at the Agricultural Show , "doing what he did best, putting on a great show". His funeral was held at St George's Cathedral in Perth, Western Australia on 29 July 2006, with
380-553: A significant developmental experience for young people , at Murdoch University in Perth , Western Australia . He married Annie Stainer, a dancer, mime and clown, with whom he had two children, Jo and Sophie. Reg worked tirelessly with children and communities both in the United Kingdom, and in Australia where he settled with his family in 1985. He owned and ran the Circus Shop , selling
418-435: Is "Free Arts for Abused Children" out of Los Angeles. This organization focuses on bringing families together through art, and allowing children and families to express their artistic abilities and feelings in a safe environment. Reg Bolton (clown) Reginald Ernest Bolton (13 November 1945 – 14 July 2006) was a clown, teacher, actor and writer. Bolton's 1987 book New Circus has been called "seminal," and influenced
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#1732863223933456-401: Is some kind of community that is created for a project or it is an effect of an art project. One example of community art is the so-called image worm , whereby artists on a forum will build upon a canvas and smoothly transition in their own piece between the last piece using image stitching , and then the next artist will build up on it, and so on. Such pieces will eventually take on the form of
494-401: Is that it provides the participant with a stress free and fun experience. Art is a tool that helps in reducing stress, anxiety, and is helpful to move towards healing. The creative and relaxed environment of these programs may serve as a way for individuals to express themselves without fear of repercussions. One non-profit organization aimed at helping underprivileged communities and families
532-616: Is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members. Community-engaged dance includes dance made by, with, and for a community. There are several models for creating community-engaged dance, primarily concerned with participatory art practices and cooperative values. Community-engaged dance generally focuses on exploration, creation and relationship building rather than technical skills development. Like community theatre, community-engaged dance
570-466: Is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members. Many communities have some form of art institution that furthers their community by providing access to activities and programs the government or other institutions cannot provide. These community-based art centers or nonprofit organizations are at
608-686: The 1980s with "Shoo", "For A' That & A' That", "Dampbusters" and "Watch It", the 1990s and "Fit For Heroes", "Kicking Up A Stink" and "In Your Dreams" and the more recent "Grease Niddrie Style". All included songs such as "Craigmillar Now", "When People Play Their Part", "Arled Bairn", "Candy Barrie" and "He Promised Me". Many local people who began performing in Community productions went on to become successful professional performers, among whom are Alice Henderson and Johnni Stanton, who went on to form their own companies, but most notably, Faye Milligan ( The Steamie ), and James (Micky) MacPherson, who created
646-547: The Belles into a drama and music group who would perform at the Festival's Old Tyme Musical Hall. The popularity of this group helped raise awareness about the needs of Bingham, and led to the successful campaign for maintaining local facilities such as a community centre and youth centre for Bingham. The activities of the CFS continued all-year round but the annual summer Festival was a major cultural event in Craigmillar. The beginning of
684-439: The CFS has been globally recognised, with distinguished commentators making reference to it. These include: It has also been compared to The Peckham Experiment and Bromley by Bow Centre and The Healthy Living Centre concept. In recent years, The Bromley by Bow Centre has taken up The Communiversity concept to develop its education programme. In 2002, the CFS was disbanded and the final annual Craigmillar Festival occurred in
722-493: The CFS were instituted in a Comprehensive Plan for Action in 1976, a document that became a standard guide for social community enterprise; one that placed art and culture at the centre of regeneration. Indeed, by 1976 the CFS had received a major anti-poverty research grant by The European Community . One example of a popular initiative lead by the CFS was the Bingham Belles. In 1970, neighbourhood worker Claire Elder developed
760-503: The Craigmillar Festival Society (CFS). The CFS started with five paid neighbourhood workers, who would be a point of contact for advice and support in the Craigmillar community, and they also made referrals to social services, for example. They initiated different social clubs, for instance, a lunch club and one for those who were housebound and socially isolated. Neighbourhood workers were also involved in activities during
798-545: The East of Edinburgh. Helen Crummy , a local mother, asked the headteacher of Peffermill Primary School if her son could have lessons to learn to play the violin. Reportedly, the school replied, "It takes us all our time to teach these children the 3Rs , far less music." Crummy joined the Peffermill School Mothers Club and she wanted to showcase that the Craigmillar children had talent to develop and decided to put on
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#1732863223933836-474: The Festival such as the grammar group and pantomimes. In early 1970 CFS also began publishing a newsletter – Craigmillar Festival News – which, after a somewhat uncertain start, grew into a monthly local newspaper which continued with few interruptions until its final edition cover-dated March 2000, surviving for almost exactly 30 years. Successor publication Craigmillar Chronicle (later The Chronicle ) ran from June 2000 to early 2011. The principles of
874-490: The annual Festival was marked each year by a political musical theatre performance written by local people about major social issues affecting them. Many artists, politicians, and researchers came to Craigmillar, either to see or become involved in the community activities. The CFS is thought to be an inspiring influence in the creation of similar national and international community initiatives. These include: The Easterhouse Festival Society , Notting Hill Carnival , and also in
912-469: The area's pioneering history and create a resource that is locally led and nationally significant." The Craigmillar Festival was revived in 2021. Community arts Community art is a community-oriented, grassroots approach, often useful in economically depressed areas. When local community members come together to express concerns or issues through this artistic practice, professional artists or actors may be involved. This artistic practice can act as
950-454: The artist-driven model, artists are seen as the catalysts for social change through the social commentary addressed in their works. A muralist whose work elicits and sustains political dialogue would be a practitioner of this model. In the second model, artists engage with community groups to facilitate specialized forms of art creation, often with the goal of presenting the work in a public forum to promote awareness and to further discourse within
988-640: The award-winning Edinburgh film company Plum Films . The Craigmillar Festival (and CFS) were the subject of the documentary Arts: The Catalyst, The Craigmillar Story (2004) produced by Plum Films and directed by Simon Hynd. Commissioned by the Craigmillar Communiversity and funded by the Craigmillar Partnership, the film uses archival footage from the BBC and interviews with local people including Helen Crummy . The documentary developed out of
1026-409: The collaborative community artistic process, the resulting product is intended as public art and installed in public space. Popular community art approaches to public art can include environmental sustainability themes associated with urban revitalization projects. Models of community-engaged arts can vary with three forms of collaborative practices emerging from among the sets of common practices. In
1064-423: The continuation of the organization to keep the love of art alive in younger generations. Having an art institution or nonprofit can provide that outlet for individuals to create, showcase their artistic talents, and express themselves, and many businesses benefit economically from having nonprofits in their towns. One of the most important aspects of a program offered at an art institution or nonprofit organization
1102-512: The field diversifies and practices are adopted by various organizations from multiple disciplines, ethics and safety have become a concern to practitioners. As a result, opportunities for cross-disciplinary training in art for social change practices have grown within the related field of arts education . A community can be seen in many ways, and it can refer to different kind of groups. There are also virtual communities or online communities. Internet art has many different forms, but often there
1140-548: The field of community-engaged arts has recently seen broader use of art for social change practices by non-arts change organizations. The resultant partnerships have enabled these collaborative communities to address systemic issues in health, education, as well as empowerment for indigenous, immigrant, LGBT and youth communities. A similar social innovation trend has appeared where business development associations have engaged with artists/artistic organizations to co-produce cultural festivals or events that address social concerns. As
1178-600: The first events organised by Crummy and other mothers in the group was a Craigmillar Pageant, which focused on Craigmillar Castle . As a result of this success, the annual Craigmillar Festival was created and it was central to transforming the area's local and art and music scene. In 1969, following the introduction of the Urban Aid Programme by the British government in 1968, Craigmillar Festival Committee gained official recognition, charitable status , and changed its name to
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1216-822: The first of its kind, I believe, in Scotland, where we bring both adult and youth trainees together in workshops and projects. We cover through this Unify scheme, joinery training in our own workplace in Castlebrae business centre." The Craigmillar Festival Society was the recognised leader in the production of The Community Musical theatre productions, where professional actors worked very closely with local people. In effect, since 1962, local people came together and produced well over 100 productions. From 1973's first Community Musical "The Time Machine", 1974's "Castle, Cooncil & Curse, 1975's "Time and Motion Man", 1976's "Willie Wynn", 1977's Culture Vultures" and 1978's "Oh Gentle Giant", to
1254-400: The forefront of bringing emotional and physical wellness to the communities they reside in. All art community nonprofits have different programs, these "programs can focus on building community, increasing awareness...developing creativity, or addressing common issues." Many art institutions provide programs and services like art classes for painting or drawing etc. for all ages. It is vital to
1292-507: The second and third models, the individuals who collaborate on the artistic creation may not define themselves as artists but are considered practitioners of an art-making process that produces social change. Due to its roots in social justice and collaborative, community-based nature, art for social change may be considered a form of cultural democracy. Often, the processes (or the works produced by these processes) intend to create or promote spaces for participatory public dialogue. In Canada,
1330-400: The south-east side of Edinburgh . The Festival celebrated local talent with the support of local councillor Jack Kane . Kane became councillor of Craigmillar in 1949 and he served as the first chairman of the Craigmillar Festival Society, remaining its honorary president until his death in 1999. In the 1960s, Craigmillar was one of the most socioeconomically deprived public housing estates in
1368-525: The success of the Arts: The Catalyst, Craigmillar Exhibition at The City Arts Centre in 2004. The documentary was well-received and won The 2005 Saltire Society short documentary competition at the 2005 Edinburgh International Film Festival . The society also has links with Professor Eric Trist and The Tavistock Institute , Billy Connolly , Richard Demarco , Anne Lorne Gillies , Joan Bakewell , Michael Marra , and Bill Paterson . The work of
1406-550: The summer of 2002. In 2021 episode for the BBC Scotland show ' Our Story ' journalist Mark Stephen speaks with those involved in the CFS and explains that the funding ended and each project was syphoned off into individual programmes, and they each fought for access to the same funding. The legacy of the CFS lives on in the form of 'Craigmillar Now', an arts and heritage organisation developed in 2020. Founder Rachel Cloughton explained that "the project aims to preserve and celebrate
1444-406: The work of Neil Cameron and Reg Bolton in Australia. Craigmillar Festival Society helped create many things, amongst them The Mermaid Sculpture by Pedro Silva, The Gentle Giant Sculpture by Jimmy Boyle , The Bill Douglas Trilogy, and in particular "My Childhood" (funded by British Film Institute ). Since its conception, the CFS was involved in government employment training schemes. Speaking in
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