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FOSTERING AN ARTISTIC COMMUNITY: ART PROGRAMMING IN MOUNT OLIVE, NEW JERSEY By ANA C. ROBLES A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2013
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FOSTERING AN ARTISTIC COMMUNITY 2 2013 Ana C . Robles
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FOSTERING AN ARTISTIC COMMUNITY 3 Acknowledgements I want to acknowledge my husband , Francisco Galindo , and my children , Ana Laura and Francisco A. , for their enduring support, inspiration, patience , and love. M y parents for believing in my artistic abilities ; I would not have be en able to get this far had they not support ed me the way they did in my early years. Thank you to m y Capstone Committee , Jodi Kushins and Craig Roland , for all their encouragement and support . T heir views and ideas were always positive and inspiring through this amazing journey. I thank Jill Daggon , from the Mount Olive Recreation Department , Denise Palmisano, Abbe Leff, and the Mount Olive Library, as r epresentatives of the Mount Olive Community , Mirtha Robles , for her advice in research , Cruz Socas for proofread ing many of my papers , and Cliff Greenwood who has been such a great adviser in my usage of English as a second language. I also want to thank m y little art students for inspiring me, and GOD , for giving me the opportunity to serve and work in such a wonderful profession : teaching art. Thank you!
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FOSTERING AN ARTISTIC COMMUNITY 4 ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS FOSTERING AN ARTISTIC COMMUNITY: ART PROGRAMMING IN MOUNT OLIVE, NEW JERSEY By Ana C. Robles December 2013 Chair: Jodi Kushins Committee Member: Cra ig Roland Major: Art Education Abstract This Capstone pape r describes research process, findings , and recommendation s in the development of community based art activities for Mou nt Olive, New Jersey. First, I advocate the need for artistic events in the town of Mount Olive and I describe past and present artistic experiences in the Mount Olive Recreational Department . Then , I present the opinion and ideas of people in the community. As part of my endeavor, I made public my views and benefits on community based art activities and collaborative art projects at the Mount Olive Library. My recommendations includ e d possible artistic activities in town and the need for teamwork among public agencies . I complete this c apstone paper with insights and learning s fro m the community responses and a discussion of the role of public entities in the development of more community base d art activities for Mount Olive Township.
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FOSTERING AN ARTISTIC COMMUNITY 5 Table of Contents Title Page UF Copyright page Acknowledgements ................................ ................................ ................................ ................................ ..... 3 Abstract ................................ ................................ ................................ ................................ ........................ 4 Table of Contents ................................ ................................ ................................ ................................ ........ 5 Fostering an Artistic Community: Art Programming in Mount Olive, New Jersey ............................ 7 Statement of the Problem ................................ ................................ ................................ ......................... 7 Purpose of the Study ................................ ................................ ................................ ................................ . 8 Research Questions ................................ ................................ ................................ ................................ ... 9 Rationale and Significance of the Research ................................ ................................ ............................. 9 Assumptions ................................ ................................ ................................ ................................ ........... 10 Definition of Terms ................................ ................................ ................................ ................................ 10 Limitations of the Study ................................ ................................ ................................ ......................... 11 Literature Review ................................ ................................ ................................ ................................ ..... 12 Former Views on After school Art Programs and Community based Art Centers ................................ 12 Community based Art Centers as a Complement to Public Art Education ................................ ............ 1 4 The Value of Art for Individuals and Communities ................................ ................................ ............... 15 Methodology ................................ ................................ ................................ ................................ .............. 16 Subject Selection, Site and Description ................................ ................................ ................................ .. 17 Data Collection Procedures and Analysis ................................ ................................ ............................... 21 Limitations ................................ ................................ ................................ ................................ .............. 25 Findings ................................ ................................ ................................ ................................ ...................... 26
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FOSTERING AN ARTISTIC COMMUNITY 6 Leadership ................................ ................................ ................................ ................................ .............. 26 Information ................................ ................................ ................................ ................................ ............. 27 Participatory Interest ................................ ................................ ................................ ............................... 27 Summary ................................ ................................ ................................ ................................ ................. 27 Conclusions and Recommendations ................................ ................................ ................................ ........ 28 Discussion and Interpretation of Findings ................................ ................................ .............................. 29 Significance, Implications, and Recommendations ................................ ................................ ................ 30 References ................................ ................................ ................................ ................................ .................. 32 Appendix A ................................ ................................ ................................ ................................ ................ 36 Appendix B ................................ ................................ ................................ ................................ ................ 37 Appendix C ................................ ................................ ................................ ................................ ................ 39 Appendix D ................................ ................................ ................................ ................................ ................ 41 Appendix E ................................ ................................ ................................ ................................ ................ 46 List of Figures and Figure Captions ................................ ................................ ................................ ........ 48 Author Biography ................................ ................................ ................................ ................................ ..... 49
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FOSTERING AN ARTISTIC COMMUNITY 7 Fostering an Artistic Community : Art Programming in Mount Olive, New Jersey Over the year s , t he Mount Olive Recreation Department (MORD) in New Jersey has earned the trust and appreciation of members of the community and neighborhood townships. T h is recreation departme nt has developed several enrichment programs, including foreign language labs , science, music, sports, and crafts for all ages. In addition, MORD offers several annual activities such as tournaments, walks, fairs, and a successful summer carnival that gathers over 10,000 people around town . Unfortunately, art program s at MORD generally do not have the same registration rates as other activities and enrichment programs . T his fact captur ed my attention particularly, because I perceive an interest in art and creativity among the population . For instance , and fortunate ly for me and my students , the discipline based art education program (DBAE) I facilitate Play, Paint and Create has endured for more than five years , offering children in the area an art istic and creative space to be after school . The purpose of this research was , first, to identify the reasons why there was so little community interest in art programs previously offered through MORD and to find what kind of programs might interest people in the future . Second , to collect opinions and ideas for possible community art program s from other art educators in Mount Olive . Third , to connect public entities and open spaces to work together , nurturing an artistic community b y sharing views and crea ting opportunities for collaborative and community base d art projects . Finally, I hoped to develop a framework of ideas for community based programming t hat fosters the artistic community of Mount Olive. Statement of the Problem Having lived in Mount Olive for more than eight years and worked with the MORD for five years, I have noticed the need for art programs and art activities , for children and adults , in
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FOSTERING AN ARTISTIC COMMUNITY 8 this township. The reason for this situation was not a total lack of interest , but perhaps a l ack of knowledge about the benefits of art or a committed organization to bring artistic groups together. T his research is relevant to the entire Mount Olive community, but specifically the creative population that has been overlooked in the past . Y oung and old artist s need ed to be provided with more opportunities for art expression tha n just the ones they had in the schools. As an art advocate , I believe that eve n a small population of artist s deserve space to gather , express and practice art , and w hat a better place than public spaces. After all, a rt brings a community together, i t helps people id entify with each other, and creat es conversation and social awareness in a community. Purpose of the Study The purpose of my study was to find out to what degree people in the community of Mount Olive were interested in community based art activities . My plan for this research was , first, to understand why previous visual art offerings at the MORD had not succeeded in the community as Jill Daggon, supervisor of the MORD, had noted and second, to find out the opinion s of key people in the community regardin g the need for art programming in order to create a framework for future collaborative and community based art projects . This kind of artistic programming as these activities work hand in hand with public art education and may , at the same time, complement the education taking place in public scho ols. As Mary Stokrocki (1986) sug world, how ever limited, is based on a system of conceptions conditioned by parents, school, community, and experience. These conceptions evolve and can be restructured and slowly Others in the community would also find opportunities in the programming I propose , forming a community of creative practitioners.
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FOSTERING AN ARTISTIC COMMUNITY 9 Research Questions Mount Olive Recreational Depa rtment h as a gap in visual art programs for the community. The question s add ressed in this research are based on my desire to create more community based art opportunities for the Mount Olive area . Therefore, it wa s important for my capstone project to determine: 1. Are people in M ount Olive interested in more community based art opp ortunities , and if so, what kind of programs ? 2. What role might schools and public entities play in collaborative and community based art projects in M ount Olive ? These open ended questions gave me avenues for gathering significant information in the understanding of community behavior . My desire was to find key individuals in public entities that helped me find good strategies for the development of a viable framework for community art programming for future generations in the Mount Olive area . Rationale and Significance of the Research A s a n art educator, I value the significance of art in the development of individuals and communities. I can see the positive impact that artistic activities can have for promising artists . As Beth Krensky and S eana L . Steffen (2009) stated in the book Engaging Classrooms and Communities Through Art , art has the power to touch imagination, evoke possibilities and alter life ( E reader version, chap. 1, para. 1 ). In the near future, I would like people from Mount Olive to have more exposure to art, more collaborative art projects to participate in, and more opportunities to show their artistic talent and apprec iate art created by the people around them.
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FOSTERING AN ARTISTIC COMMUNITY 10 Assumptions Based on my observations , readings and researc h about art and communi ties , I believe that community based art programming in Mount Olive will bring some kind of unity and sense of place to our multicultural population . It will foster artistic participati on and empathy , sustain traditions , and foster a more holistic and balance d community . M y hope is that this research will create a brighter future for other creative ideas and proje cts for artists in my community . Ulbricht (2005) nity based art education definitions and objectives, then they can envision meaningful projects and programs that are Art helps people shape their ideas and feelings so that they can become better participants in their s ocieties . I am pleased to have the chance to develop artistic opportunities in my community. Definition of Terms The following terms are use d in this paper: Community based art activities . This is defined broadly as artistic activities that take place outside of the K 12 schools, such as park facilities, art centers, art museums, retirement centers, and storefront galleries. Community based art activities contribute significantly to the maintenance of neighborhood spirit and t raditions that are integral to the build of a community. Through these activities , artists can teach, share, and be compensated for their crafts, empowering members of the community and enhancing their lives. Community based art activities also raise aware ness about the social, political, and economic issues that impact a Collaborative Art Projects. According to the Merriam Webster Dictionary (2013) , ollaborate means to work with another person or group in o rder to achieve o r do something
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FOSTERING AN ARTISTIC COMMUNITY 11 (para. 1) . C ollaborative art projects gather several artist s or individual s interested in being part of a bigger art creation. The final outcome is a mix of ideas, backgrounds , and personalities working together to reach a goal. Community. According to Gusfield (as cited in McMillan and Chavis, 1986 ), there are community, neighborhood, town, or city. The second is concerned with the quality or ch aracteristics of human relationships without refer ence to location. Durheim ( as cited in McMillan & Chavis, 1986) observed that modern societies develop communities around interests and skills more than around locality. Turning to a more current definition , according to the Business D ictionary (2013 ) , community is a self organized network of people with a commo n agenda , cause, or interest , who collaborate by sharing ideas , information , and other resources (para. 1) . Recreational Department. A recre ation department offers the public a network of facilities and services for organized or free play such as courts, parks, and events, and it hosts other programs that operate under supervision or direct group leadership. Public Agencies . The term public agency refers to agencies that are a branch of government, rely heavily on tax revenues for their support , and are intended to serve a broad spectrum of population groups with socially construc tive recreational opportunities ( Kraus , 1985). Limitations of the Study Several undertakings were developed through this research project, but unfortunately, due to time and budget limitations, some aspects will need to await future opportunities. Primarily, this was a n endeavor intended to spark the interest in arti stic projects among people in the
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FOSTERING AN ARTISTIC COMMUNITY 12 community , and no ongoing programming was developed or enacted. My wish was to cultivat e contacts to support programming in the future. I hope that some of these possible projects might someday beco me a reality for the art istic population in Mount Olive. Literature Review There are several reasons why artists and educators feel the need to creat e community based art projects, i n addition to developing a better apprecia tion of art and artistic skills. These objectives include the need to support school art programs, the desire to involve students in real world situations, and interest in confronting important social issues through artistic activities. Influential scholars in the field have written about the opportuniti es provided by artistic centers and have made recommendations for their development. One of these scholars is Laura Chapman (2005) , who researched the status of elementary art education from 1997 through 2004 . Her report focused in state policies and trend s, elementary visual art education , and public opinion and emerging trends related to the No Child Left Behind Act of 2001. Her conclusions lead me to value after school programs as complement s to public school offerings . Likewise , the participatory cultur al practice (Taylor, 2005), connectedness, trust , and belonging that community projects offer, motivated my interest in the development of community based art projects to fulfill , somehow, the artistic gap in the Mount Olive community . ( 1989 ) S for diverse rural communities all provided inspiration for my work. Former Views on After school Art Programs an d C ommunity based A rt C enters To understand the community art center purposes , I will take you back in time to the 19th century to Halifax, Nova Scotia, to one of the earliest out of school programs known in the
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FOSTERING AN ARTISTIC COMMUNITY 13 history of art education. In this program, outstanding students and industrial art workers practiced their artistic skills every Saturday morning in order to gain admittance to the most prestigious art schools in town (Pearse & Soucy, 1987). Other schools, including the Normal Art School in Boston and the Pratt Institute in New York City, followed the pattern of offering extra artistic instruction On one level they [art progra ms] which art education students may acquire basic teaching, observational , and self critical skills. On another level they [ ] are an environment in which children can gain an exposure to a wide ( Pearse & Soucy, 1987, p. 147). Most of the programs were very successful, although some programs encountered limitations such as inadequate physic al space and financial constraints . In 1965, Elliot Eisner wrote a significant paper about curriculum art ideas in times of crisis . He suggested that the art education curriculum could be rebuilt along productive, critical , and historical aspects of art. Eisner advocated leadership in art education . I n his view, art leaders should be , Later on, Enid Zimmerman (2011) viewed a community based art center as an opportunity to fill in the gaps or address the crises in and the connection of ideas across disciplines in publi c schools. Both Eisner and Zimmerman advocated the possibility of community based art centers, as a parallel solution to public education needs. Furthermore , J. Ulbricht ( 2005 ) described various forms of community art alternatives, including : informal teaching and programs that are not initiated by teachers; organized
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FOSTERING AN ARTISTIC COMMUNITY 14 community teaching , such as that offered by museums and art community centers; outreach or altruistic programs (also mentioned by James Rolling, 2013); e thnography groups or those tha t ide ntify cultures, specific interest groups, and public art; and art for the community, including visual representations of a community such as murals or sculptures in public places. C ommunity based A rt C enters as a C omplement to Public Art E ducation Accordin g to Jennifer Fredricks (2011), schools and out of school settings share multidimensional models of engagement that involves student behavior, student emotions, and the development of ng and understanding community based art programming as a mean s to providing a parallel education to public education . H er views were crucial in directing my own investigation toward s fostering an artistic community in Mount Olive . R eports on community art projects in the United States describe large public projects , community based art centers , or short term projects as mechanisms for developing a sense of place through neighborhoods s ome of them are focused on a community s torytelling ( Gude , 1989 ; Hannigan , 2012 ; Washington , 2011 ; Zander , 2007). Other interesting approaches involv e considerations of race, visual culture, and identity explorations through art in small art centers. Freedman, Heijnen, Kallio Tavin, Karpati, and Papp (2013) observed that a visual culture oriented community learning center is like a playground for creativity that has a synergy for personal and professional growth. In their opinion, visual culture learning centers are what schools tend not to be pl aces where learners act on intrinsic motivations in an atmosphere of sharing (p. 113).
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FOSTERING AN ARTISTIC COMMUNITY 15 The Value of Art for I ndividuals and Communities Elliot Eisner stated that children learn to become competent when they paint, and that the skills they learn expand their power to shape themselves and what surround s them (19 78). Several other scholars value d the benefits of art in children develo pment as well as in their communities ( Chapman , 2005; Fredricks, 2011; Gude , 1989 ) Jos hua Guetzkow identified two types of social art impact: individual and community (2002). The types of individual impact are material, cognitive/psychological , and interpersonal, while the community impact reflects on the economic, cultural , and social issu es in a group. According to Guetzkow the individual effects are relevant for the purpose s of the community , and vice versa. Many people state the different benefits of art but these are difficult to measure. Mc Carthy, Ondaatje, Zakaras & Brooks (2004) claimed that the social benefits of the arts , at the community level , fall into two categories: promotion of social interaction among community members , building a sense of identity and helping to build social capital , an d empowerment of communities to org anize for collective action , through the development of local art groups and leaders. Andrew Taylor (2005) measured a creative community by their cultural literacy, participatory multicultural practice and communication , and professional cultural goods and services something to take in to consideration in this investigation. According to the Americans for the Art ( Cohen, 20 13 ) , there are at least ten valid reasons to support the arts in communities, but here are the most important to this research : a rt is a symbol of true prosperity, it i mproves overall academic performance , i t i s good for local merchants , it b uilds the 21 st century workforce , it i mproves overall health , and b uilds stronger communities .
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FOSTERING AN ARTISTIC COMMUNITY 16 Grace H. Lynch (2013) and Lisa Phillips ( as cited in Strauss, 2013) have very similar thoughts about the art value for the individual. For Phillips, art p rovides c reativity, confidence, problem solving skills, perseverance, focus , non verbal communication, constructive feedback, collaboration, dedication , an d accountability. While for Lynch, art is key in the development of motor skills, language, decision making, visual learning, inventiveness, cultural awareness , and academic performance. To conclude , and b ased on my review of professional literature , it is clear that a community based art programming would have a place in Mount Olive , with the purpose of increas ing community benefits , support ing public school educa tion , and heighten ing the development of individual s . The variety of approaches suggested by scholars fed my desire to create possibilities that not only nurture the interest s of local artists but also non artist s , and to work in the development of more artistic projects with in public agencies in the area. Methodology Energetic individuals filled with the collaborative spirit, positive leaders, shared interests , as well as an ongoing communication are all part of the success of any collaborative project ( Berry , 19 98 ). In order to implement collaborative artistic opportunities in Mount Olive this research focused o n : ( a) learning about community needs and hi story of past artistic programs , ( b) conducting a survey during the Mount Olive Community Summer Carnival with selected parents and other adults interested in artistic activities for themselves or their children , and ( c) brainstorming with other art educators from the district to gather ideas for possible community based art activities . As a final component , I pre sented info graphic s bas e d on my early research with collaborative art activities in a public space to garner community responses to my proposal.
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FOSTERING AN ARTISTIC COMMUNITY 17 Subject Selection, Site and Description For the select ion of individuals for my investigation I used a sampling technique called purposive sampling . Patton (1990) stated that t he main goal of purposive sampling is to focus on particular characteristics of the population of interest. Purposive sampling has different targets to study in this research I use d two of them : the convenience or expert sampling , and the snowball sampling or chain sampling . I identified with Patton when he stated: One may learn a great deal more by focusing in depth on understanding the needs, interests, and incentives of a sma gathering standardized information from a large statistically representative sample of the whole pro gram . ( p. 169) MORD Supervisor, Jill Daggon . The focus of our interview was to seek information about what ha d happen ed with artistic programs in Mount Olive in the past, and what plans they had for the future (see Appendix B) . Mrs. Daggon and I ta lk about their art programs, art instructors , and h er views and desire to increase the artistic participation in the recreational department. She was aware of the importance of art programs in the development of a child and the need for In the interview, Mrs. Daggo n noted re more web oriented and social media oriented. Photos are everywhere , for everything. The s e are things people might not realize but art is probably in four out of five jobs . She had some art oriented ideas to implement in the recreational department, but she also believes that passion and commitment are needed to make things happen , along with a strong understanding of the value and difference that art can make in
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FOSTERING AN ARTISTIC COMMUNITY 18 In addition to the inte rview, I conduct ed a short survey with parents and other adults who could be future beneficiaries of the community art programs . This survey was conducted last July , with participants at the Mount Olive Community Summer Carnival. The survey included both m ultiple choice questions and open response s (see Appendix C) . The first part of the survey focus ed o n likes and dislike s about existing programs at the recreation department . The second part asked about their interest , and possible participation , in collaborat iv e and community base d art activitie s. The responses were diverse but consistent with my desire of fostering a more artistic community in the area (see Appendix D) . Unfortunately, conducting the focus group was the hardest part of the resear ch plan to complete . Teachers did not respond promptly to the invitation to participate ; just two of them got involved when reminded of the importance of contributing in community efforts. I met with each of them in their art rooms and discussed a few ideas for school involvement in community b ased projects; later on they sent additional answer s to my inquiries by e mail (see Appendix E) . Finally, the result ing Capstone project was organized in three parts and displayed at the Mount Olive P ublic Libra ry in November 2013 . The first part was an informative wall with two info graphics I designed . I nfo g raphic A ( see Figure 1 ) was about community based art and the bene fits of art for the individual and for the community , and the most important art istic towns in New Jersey. I nfo graphic B ( see Figure 1 ) focused in collaborative art and Mount Olive experience with these kinds of projects.
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FOSTERING AN ARTISTIC COMMUNITY 19 Figure 1 . I nfo graphics A & B. Fostering an artistic community: Mount Olive, NJ The second part of the project was a display of a collaborative art piece created at the first Mount Olive Community Art Show last summer , made out of one hundred and twenty four popsicle s ticks ( see Figure 2 . Collaborative a rt p iece created at the Mount Olive Community Art Show ). Each stick was designed by a different individual , children and adults, and was placed together form ing a big colorful piece of art , 24 x 24 inches . Finally, the last part of this project consisted of a collaborative art project in which the community members could participate during the display at the library . This particular piece has a significant importance to me , and I hoped, to many people in M ount Olive. It consisted of more than one hundred branches , collected when storm Sandy hit our community a year ago , pu t together to represent our strength. Participants had the chance to decorate their own branch with different color rubber bands and
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FOSTERING AN ARTISTIC COMMUNITY 20 plac e them in a structure made out of intrinsic natural elements and wire ( see Figure 3 ). Next to the collaborative art piece was a notebook where people could leave their memories about their Sandy experiences, a thank you note, or jus t their thoughts on the project. Figure 2 . Collaborative a rt p iece created at the Mount Olive Community Art Show
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FOSTERING AN ARTISTIC COMMUNITY 21 Figure 3 . Sandy, Final Collaborative Art Piece Data Collection Procedures and Analysis The data collection took place in different venues according to the research pro cess detailed above . The d ata analysis for my research was a lso done accordingly to the needs of each of the studies . I analyzed each bit of data as I collected it so responses guided and connected to the next step of the research process . Each of the locations and procedures are explained individually later on in this paper , and a data collection and analysis table was created for easy understanding and differentiation among sources ( see Table 1 ). Thus, v ideos, m emos, coding ,
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FOSTERING AN ARTISTIC COMMUNITY 22 and narrative analysis shaped my research project, conclusions, recommendation and results . As Maxwell and Miller ( As cited in Maxwell, 2004) explained, strategies need each other to provide a well rounded account in the ov erall design of data analysis (p. 99). Table 1 . Data c ollection and analysis c hart Interview . The interview was videotaped and revisited multiple times . Eight main questions where discussed in a friend ly and informative conversation, s ome of those question s included: Mrs. Daggon experience in the Recreational Department and with the community ; art programs and their characteristics in the past years and present ; venues and resources used for that purpose ; special events such as art shows, public art projects or any other related activity ; other public entities in charge of promoting art in the area ; her knowledge about community base d art projects and her willingness to create new opportunities for the community.
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FOSTERING AN ARTISTIC COMMUNITY 23 Survey . Last summer at the community carnival twenty five people completed a ten question survey on their thoughts and connection with the MORD. The first part of the survey included questions about their participation in enrichment programs and their knowledge about township. The second part focused on their interest in future artistic opportunities. In this part , they also had the opportunity to respond to open ended questions about their knowledge on community based art projects, ar t enrichment programs , and the benefits that these projects would bring to the community. Some interesting answers included their desire for children to be involve d in the arts, for an economic boom in the area, for less crime, and for improvement and beautification of the community . Participants seem ed eager to participate in artistic activities an d artistic enrichment programs. People showed special interest in drawing, watercolor and photography classes. In their opinion, these kinds of programs encourage d socialization, entertainment, community involvement, self expression, creativity , and educational opportunities for future generations (see Appendix D). Focus Group . Gathering art educators from public schools was not an easy task. Six educator s were invited to be part of an online focus group that would brainstorm ideas for creating more art opportunities in Mount Olive. Just three of them responded to the invitation and , unfortunately , one of them was on maternity leave. Therefore, I only gath er ed ideas from two individuals, an art educator from one of the elementar y school s in the district and the other one from the middle s chool . They were willing to collaborate by e mail. The inquiries were personally handed to them , with a quick explanation about the project and the goals, so they could have time to respond and collaborate with their ideas. Within a few days they sent me their responses by e mail . This data was reviewed and considered for future art projects in the d i strict.
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FOSTERING AN ARTISTIC COMMUNITY 24 Some of the most positive comments were that teachers could imagine students participating in community based art projects, that students know that art exist s out of their classroom , and that community based art programs could help in cultivating inner artist. Art educators stated that students involved with community based art centers learn to grow individually and collaboratively as artist s . One of the teachers recognized that the crit ical thinking skills of planning, analyzing, creatin g , and evaluating are imperative tools for the developing youth in the twenty first century. On e idea to involve sch ools in community art practice s was the to create schools, students, staff members, teachers , and parents. T he teacher stated , t he event could include some hands on workshops and highlight the artistic achievements of students in the Capstone Project. Once the project was hung at the public library, I gave a few staff members an explanation about the purpose of the project, so they could guide and invite visitors to participate. An e mail invitation was extended to some of my students and friends who participated in the collaborative piece during the carnival and another invitation was public through the MORD Facebook page ( s ee Figure 4 ) . I visited the show daily to document the progr ess and opinion s of people who particip ated.
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FOSTERING AN ARTISTIC COMMUNITY 25 Figure 4 . Collaborative a rt invita t ion to the community through th e MORD Facebook page . Limitations Fortunately , there were not many limitations during the research but three main points are important to emphasize in this paper . First, it was hard to keep an ideal order as to when to gather information between the survey, the interview , and the focus group , due to schedule conflict s . Second, it was challenging to get all district art educators together, I had to se nd out
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FOSTERING AN ARTISTIC COMMUNITY 26 invitations twice and pressure them to participate. Lastly, the management of a budget to create low cost collaborative projects was another limitation found in during the research. Findings The goal of this Capstone project was to foster an artisti c community by creating more community based art opportunities in Mount Olive , New Jersey. For this purpose, I researched if people in M ount Olive were interested in more art istic opportunities and if so, what kind of programs . I also reviewed the role tha t schools and public agencies would play in collaborative and community based art projects in the area . According to this research s ome of the reasons why Mount Olive does not have many community based art programs or projects today are : first , the absence of leadership in the artistic area ; second, the lack of time parents and children encounter when balancing work and other ex tracurricular activities , and understand ing of the true benefits of art in the individual and the community . Finally , a lthoug h scho ols play an important role in the development of more artistic projects in town , art is not a priority for administrators or teachers in those entities ; but art is valued in public agencies such as the M ount Olive Public Library and the MORD . These entities are enthusiastic to participate and eager to create more opportunities for the arts in the area. Leadership Based on the interview with Jill Daggon, Supervisor at the MORD, t here is a need for leadership in the arts in Mount Olive. It is not enough to have public agencies interested in revitalizing the arts in the area if there is not a committed individual , or group , with community based art endeavors. The challenge would be to find passionate people who would like to commit their time to the town and create , little by little , more community based artistic projects. From
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FOSTERING AN ARTISTIC COMMUNITY 27 my perspective, b y creating small collaborative art projects such as the one I put at the library people with the same interest will get to know each other and might fos ter communication, engagement , and finally support each other in the mission . Information Through the surve y , people from Mount Olive demonstrate d interest in developing artistic skills and community based art projects . However, world , plus the many option s children have in other afterschool activities , do not let parents focus on the value of art for the development of a child. In addition , the little attention that the visual art s receive from th e public schools do es not benefit the development of a community based art program in Mount Olive today. In order to generate more artistic interests and opportunities for future generations, a detail ed campaign to value art according to the community need s is basic to change things overtime . Participatory Interest A positive finding through this research was the willingness and interest from public agencies , such as the MORD and the Mount Olive Public library , to incorporate more collaborative and community base d art projects into their programming. The response to and parti cipation of children and adults in my art project display ed at the library was an example of the interest of the community in try ing fresh and new perspectives of art. Future art activities in Mount Olive might increase the community interest in artistic programming along with the support of these to appreciate entities in the area. Summary Based on these findings, I believe people in Mount Olive are interested in more community based art istic projects , especially small activities that do not compromise too much
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FOSTERING AN ARTISTIC COMMUNITY 28 of their time. However, t here are also people interested in learning more artistic skills as drawing, watercolor or photography. Unfortunately people from the public school s do not see visual art as a priority , but a couple of art educators show ed some interest in having more artistic opportunities out of the school classroom. The role of public agencies , such as the Mount Olive Recreational Department and the Mount Ol ive Public Library , will be key to promoting community based art opportunities in our town. U nderstand ing the assets and challenges in Mount Olive are necessary to foster an artistic community. By clarifying these outcomes , the path to generating possible art programs in town is one step closer to , someday, be ing a reality. The goal is first , to find the people who want to be engaged and involve d in the art, to generate interest among parents by launching a n educational campaign , and by supporting the inte rest of public agencies in the development of small collaborative community based art projects. Conclusions and Recommendations This Capstone Project was created with the purpose of (a) understand ing if individuals in Mount Olive, New Jersey , were interested in community based art programs, (b) suggesting ideal community based art projects , and (c) understand ing the role of public agencies in the development of art programming in the area. Some scholars such as Chapman (2005) and Eisner (1965) in the literature review presented the crisis of art education as an opportunity for leaders to develop community based artistic activities; moreover, other scholars shared the many benefits that the community and individual s gain thr ough these artistic a ctivities ( Gude, 1989; T aylor, 2005; Bash , 2006; Clark & Zimmerman, 2000 ) . The connectedness, trust , and belonging that those scholars discussed are what this Capstone Project aims to achieve for the Mount Olive community. This reaffirms that rt events a nd activities can give people a feeling of belonging
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FOSTERING AN ARTISTIC COMMUNITY 29 (McCarthy et al., 2004, p. 14 ). Accordingly, the gathering of opinions from the MORD, public art educators, and parents in the community through interviews, surveys and brainstorming was required to reach the final outcome. As a result, more artistic programming for the Mount Oli ve area can be achieve d if they are supported by public entities , with the developing of more collaborative art projects. Discussion and Interpretation of Findings Knowing that people from public agencies are interested in develop ing more community based art projects, the opportunity to foster artistic programs seems to be a step forward to the near future. The involvement of these entities seems to be a good strategy to reach a good part of the Mount Olive population. In order to create leadership opportu nities, small art activities , where people can participate , would be crucial to gather ing individuals with the same interest. Furthermore, taking school art outside of the classrooms , in to public view, and inviting teachers to collaborat e with new ideas and community partners , could have positive results for future young artist s . Artist s and students can participate at the annual Community Art Show that the MORD launched last summer , for example . Together, these strategies should increase participatory i nterest on behalf of the community since they will have enough options to participate according to their schedule and interest. Finally, an education campaign is need ed for the community to see art not only as an aesthetic outcome but also as a valuable sk ill for personal developme nt and as an important resource for social and economic development.
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FOSTERING AN ARTISTIC COMMUNITY 30 Significance, Implications, and Recommendations As a resident of Mount Olive and having taught art in an after school art program for the past 6 years with th e MORD, I believe that community based art projects would be of great benefit for individuals and the community. There is definit ely a gap that needs to be closed and there is a lot to do, but at least this research might be seen as a beginning of a new ar tistic chapter for the Mount Olive community. In 1992, Suzi Gablik wrote about the importance of connective aesthetics and future approaches for contemporary art that I absolutely loved . S he stated , . It is not activism in the sense of the old beyond the ego self to cr eate a wider view of the world (p. 6 ). When thinking about starting Play, Paint and Creat e , seven years ago, I wondered whether I would be skilled enough to teach art to children, with so little experience as an art educator. Today, not only do I enjoy teaching my students, but I also receive big lessons from them , when they share their perspectives and ideas with me . I call this the added value of teaching. Currently, I am hesitant about whether I should take the lead on the next chapter educating my community at large . This decision would require a move from my comfort zone to a bigger challenge, but it could become a wonderful experience outside of the classroom just as when I first started teaching. Having the support from the MORD and the Mount Olive Library, I mi ght teach my students to give more of them sel ves through the (1992) invitation to the practice of connective aesthetics. To summarize, my recommendations to foster an artistic community in Mount Olive will include : having community based art activities where people can experience accountability, connectedness, forms of satisfaction , and accomplishment through art ; s tarting a crusade to teach
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FOSTERING AN ARTISTIC COMMUNITY 31 people about the value of art as an important critical thinking skill, basi c in the twenty first century ; and, f inally, supporting the MORD and the Mount Olive Library with activities that help expand cultural awareness, perseverance , and confidence in the community through art. Conclusion In conclusion, t rying to foster an arti stic community in Mount Olive ha s been a journey full of learning and discoveries. Probably the most important takeaways for me are : the connectedness I experienced with my community and the possibilities that might come with my findings. Teaching art is not anymore about oneself, but about giving and the joy that comes with sharing. This Capstone Project made me grow as an artist, an art educator , and a member of my community. Definitely, the outcome makes me look forward for more community based art vent ures to share in Mount Olive .
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References Bash, S. R. (2006). Thriving arts: Th riving small communities. Tracy, MN: Metropolitan Regional Art Council. Retrieved from http://www.mrac.org/resources/pdf/ThrivingArts.pdf Berry, N.W. (1998). A focus on art museum/school collaborations. Art Education, 51 (2), 8 14. Chapman, L. (2005). Status of elementary art education: 1997 2044. Studies in Art Education, 46 (2), 118 137. Clark, G., & Zimmerman, E. (2000). Greater understanding of the local community: A community based art education program for rural schools. Art Education, 53 (2), 33 39. Cohen, R. (2013). 10 Reasons to support the arts. Americans for the Arts. Retrieved from: http://www.partnershipmovement.org/news/p/1 0 reasons to support the arts in 2013/ Collaborate. (2013). In Merriam Webster.com. Retrieved from http://www.merriam webster.com/dictionary/collaborate line d ictionary. WebFinancial, Inc. Ret r ieved from http://www.businessdictionary.com/definition/community.html/ Eisner, E. (1965). Curriculum ideas in a time of crisis. Art Educat ion, 18 (7), 7 12. Eisner, E. (1978). What do children learn when they paint? Art Education , 6 10 Fredricks, J. A. (2011). Engagement in school and out of school contexts: A multidimensional view of engagement. Theory Into Practice, 50 (4), 327 335. Freedman, K., Heijnen, E., Kallio Tavin, M., Kárpáti, A., & Papp, L. (2013). Visual culture learning communities: How and what students come to know in informal art groups. Art Education, 54 (2), 103 115. Gablik, S. (1992). Connective Aesthetics. American A rt, 6 (2) 2 7
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FOSTERING AN ARTISTIC COMMUNITY 33 Guetzkow , J. (2002). How the arts impact communities: An introduction to the literature on art impact studies. Center for Art and Cultural Policy Studies. Princeton, NJ. 1 22 Gude, O. (1989). An aesthetics of collaboration. Art Journal, 48 (4), 321 323. Hannigan, S. M. (2012). Turning community stories into community art. International Journal of Education through Art , 8 (2), 135 150. Hendershott, A. & Wright , S. (1993). Student focus group and curricular review. Teaching Sociology , 21 (2) , 154 159. Kraus, R. G. (1985). Determining program goals, objectives and policies. Recreation program planning today. G lenview, IL: Scott, Foresman & Company. 129 130 Krensky, B. & Steffen, S. L. (2009). Engaging Classrooms and Communities through Art . Lanham, MD: Altamira Press , Krueger, R. A. , & Morgan, D. L. (1993). When to use focus groups and why? Successful focus groups advancing the state of the art. Sage Focus Edition. Newbury Park, CA : Sage Publication, 156 , 3 18. London, P. (2012). Infusing th e arts into community based learning environments. Advocacy White Papers for Art Education. Reston, VA: National Arts Education Association. Retrieved from http://www.arteducators.org/advocacy/NAEA_WhitePapers_4.pdf Lynch, G. H. (2013). The im portance of art in child development. Education . PBS Parents. Retrieved from: http://www.pbs.org/parents/education/music arts/the importance of art in child development/#.Ui07bAh6O s.facebook Maxwell, J.A. (2004). Methods: What will you actually do? In J. A. Maxwell, Qualitative Research Design: An Interactive Approach . Thousand Oaks, CA: Sage. 95 99.
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FOSTERING AN ARTISTIC COMMUNITY 34 McCarthy, K. F., Ondaatje, E. H., Zakaras , L. & Brook s, A . ( 2004 ). Gifts of the Muse: Reframing the debate about the benefits of arts. Santa Monica, CA: Rand. 14 19. McMillan, D . W. , & Chavis D. M. (1986). Sense of Community: A definition and theory. Journal of Community P sychology , 14 , 6 23 . Morgan, D. L. (1996). Focus groups. Annual Reviews of Sociology, 22 (1) , 129 152. Patton, M. (1990). Qualitative evaluation and research methods . Beverly Hills, CA: Sage. 169 186 Pearse, H., & Soucy, D. (1987). Nineteenth century origins of Saturday morning art classes for children in Halifax, Nova Scotia. Studies in Art Education , 28 (3), 141 148. Rolling, J. H., Jr. (2013). Art as social response and responsibility: Reframing critical thinking as a basis for altruistic intent. Art Education, 66 (2), 6 12. Stokrocki, M. (2006). Expanding the artwork of young, elementary students. Art Education, 39 (4), 12 16. Strauss, V. (2013). Top 10 Skills children learn from the arts. Blog: The Answer Sheet . W ashington Post. Retrieved from: http://www.washingtonpost.com/blogs/answer sheet/wp/2013/01/22/top 10 skills children learn from the arts/ Taylor , A. (2005) . Measuring the creativity community. Arts Journal Blogs: The Artful Manager. Retrieved from: http://www.artsjournal.com/artfulmanager/main/measuring_the_creative_communi.php Ulbricht, J. (2005). What is community base art education? Art Education , 58 (2), 6 12. Washington, G. E. (2011). Community base art education and performance: Pointing to a place called home. Art Education, 52 (4), 263 277.
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FOSTERING AN ARTISTIC COMMUNITY 35 Zander, M. J. (2007). Tell me a story: The power of narrative in the practice of teaching art. Art Education, 48 (2), 189 203. Zimmerman, E. (2011). A case of integrating art into a variety of teaching and learning environments. Advocacy White Papers for Art Education. Reston, VA: National Arts Education Association. Retrieved from : http://www.arteducators.org/advocacy/NAEA_WhitePapers_4.pdf
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Appendix A
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FOSTERING AN ARTISTIC COMMUNITY 37 A p p e ndix B
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FOSTERING AN ARTISTIC COMMUNITY 38 Interview: 1. For how long has the Mt. Olive Recreational Department (MORD) been operating? How long have you worked for the MORD? 2. How many and what kind of art programs has the recreational department had in past years? Which ones do you think were most successful and way? Least successful? 3. How many and what kinds of art programs does the recreational departmen t runs today? For whom? Children, adults, special populations? 4. Which venues and resources have you used for visual art classes? 5. Apart from classes, have there been any other community art activities? Exhibitions? Special events? Public art projects? 6. Do you know of any other public entity beside the recreational department that supports visual artistic activities in the Mt Olive Township? 7. What comes to your mind when you hear the term community based art project ? Do you think your organization could supp ort this kind of activity? What resources would you need to make this happen? 8. Given your experience, aside from the classes you currently offer, what kind of art activities do you think might be of interest of the community?
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FOSTERING AN ARTISTIC COMMUNITY 39 Appendix C
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FOSTERING AN ARTISTIC COMMUNITY 4 0
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FOSTERING AN ARTISTIC COMMUNITY 41 Append ix D Su rvey Question Data Analysis and Result s 44% 0% 4% 8% 44% When was the last time that you or any of you family members were enrolled in a Mt. Olive enrichment program? Currently Last Winter Last Fall Last Spring More than a year 0 5 10 15 20 25 Sport Dance Art Music Craft Other In what kind of enrichment programs did you or of your family members enroll? Mark all that apply.
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FOSTERING AN ARTISTIC COMMUNITY 42 60% 40% Did you know that Mt. Olive recreation department has ART enrichment programs for children and adults? Yes No 0 2 4 6 8 10 12 14 16 If you had the opportunity to choose art disciplines to learn about, which ones would you choose? Please chose up to three.
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FOSTERING AN ARTISTIC COMMUNITY 43 32% 32% 8% 28% What comes to mind when you hear community based art project? Public Projects Social Opportunities Aesthetic Results N/A 4% 12% 28% 8% 24% 24% How do you think our community might benefit from community based art projects? Economy Aesthetics Social Personal Education N/A
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FOSTERING AN ARTISTIC COMMUNITY 44 92% 8% Would you or any of your family members participate in a community based art project? Yes No 24% 8% 32% 20% 16% Why do you think art enrichment programs are important for children or adults? Complement Education Entertainment Self Expression and Creativity Development Social Opportunities N/A
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FOSTERING AN ARTISTIC COMMUNITY 45 0 10 20 30 40 50 60 2-5 Years Old 6-10 Years Old 11-16 Years Old 17 or Older Interviewee's Household Data 4% 16% 0% 56% 0% 20% 4% Which race/ethnicity best describe your family? Please choose only one. American Indian/AN Asian Native Hawaiian White African American Hispanic Other
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Appendix E
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FOSTERING AN ARTISTIC COMMUNITY 47 Topics: 1. What resources would you like your students to have outside of school to enrich their study of art in your classroom? To help you in your teaching? 2. What are your thoughts about and experiences with community based art centers? 3. How might the community benefit from school community artistic endeavors? 4. Can you imagine participating in community art projects with your students? What role can you imagine the schools playing in community art projects? 5. Can you imagine your students utilizing a community based art program? Or participating in community based art projects or community contest?
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FOSTERING AN ARTISTIC COMMUNITY 48 List of Figures and Figure Captions Figure 1. Info graphics A & B. Fostering an artistic community: Mount Olive, NJ ..................... 19 Figure 2. Collaborative art p iece created at the Mount Olive Community Art Show .................. 20 Figure 3. Sandy, Final collaborative art p iece ................................ ................................ .............. 21 Figure 4. Collaborative a rt invitation to the community through the MORD Facebook page. .... 25 Table 1. Data collection and analysis c ... 22
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FOSTERING AN ARTISTIC COMMUNITY 49 Author Biography Ana C. Robles began her studies and interests in art and photography at the age of fourteen . During her school years, she participated an d won a couple of national contests. She earned a BA in Graphic Design from Veritas Unive r sity in Costa Rica in 1995. As a graphic des igner, she had the opportunity to work for companies throughout Central America. Ana married and moved to New Jersey in 20 01, and today the Garden State is her home. Since 2007 Ana has been volunteering in Paragon Village Nursing Home once a week, teaching art to the elderly. She also runs Play, Paint and Create , an afterschool art program for children ages 6 15 through the Recreational Department of Mount Olive Township. Last year, Ana followed her curiosities and enroll ed in a Masters in Art Education program online with the Unive rsity of Florida, with the aim of improving her teaching skills and views in c ontemporary art and artistic development. She enjoys sharing her passion for art with future generations.
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