By Beth Krensky

The publication combines case reviews with various teams around the state which are utilizing various media - together with mural arts, dance, and video - with an educated creation to the speculation and heritage of community-based artwork. it's a excellent instruction manual for these trying to rework their groups via artwork.

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Extra resources for Engaging Classrooms and Communities through Art: A Guide to Designing and Implementing Community-Based Art Education

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Our research indicates that people become involved because they are Practice of Community Art: From Setting the Stage to Making the Art 23 interested in cultural, educational, family, and fun activities. In addition, young people are motivated by their interest in the projects, by their desire to have something to do after school, or by their need to honor parents’ or teachers’ requests. Motivations are important to consider when designing recruitment methods. For community art to be effective, there must be a core group of participants, including some type of community leadership, that is committed to participating for the project’s duration.

Consequently, they decided to design a space where individuals could feel peaceful and where peaceful interactions among people would be more likely to occur. Once the content or theme is chosen, the process for determining artistic form includes selecting the medium and the installation treatment or performance venue. For example, in the theater project, the art practitioners Practice of Community Art: From Setting the Stage to Making the Art 33 presented the proposal of a play as a cultural representation that could include dance and narration, among other ideas that participants generated and subsequently chose from.

Please see Appendix F, General Resources, for more information about funding. 7. Olivia Gude, “Beyond Monological Monuments: The Possibility of Heteroglossia in Public Space,” Public Art Review, no. 12 (Spring/Summer 1995): 40. 8. , 2004). 9. , and Philadelphia: New Society Publishers, 1996). 10. : New Society Publishers, 1994). 11. For additional information on how to facilitate participatory decisions, see Kaner’s Facilitator’s Guide to Participatory Decision-Making. 12. John Dewey, Art as Experience (New York: Minton, Balch & Company, 1934).

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