Community and participatory art (5cr)

Objective

After completing the course, the student will be able to
-describe different forms of community and participatory art and methods of inclusion in contemporary art
-evaluate community and inclusive art, especially considering ethical, aesthetic, social and cultural perspectives
-plan, implement and report a community artistic participatory process.


-plan, implement and report a community artistic participatory process

Content

Presented and discussed during the course: concepts and forms of community and participatory art, implementation and working methods; dialogic aesthetics and performativity. Local and international examples of community and participatory art practices discussed through visual materials and literature. Students are encouraged to carry out and practice skills through experimental art in public spaces and in collaboration with local communities.

Assessment criteria, satisfactory (1)

REJECTED
The performance is highly deficient or incorrect, or it contains significant misunderstandings.

Adequate and Satisfactory (1-2)
Participation is minimal. The execution of tasks is limited, superficial, or poorly aligned with the given instructions. Reporting is limited to listing things in isolation or addressing issues one-sidedly. The performance may contain errors or ambiguities.

Assessment criteria, good (3)

GOOD AND COMMENDABLE (3-4)
Participation is regular. The execution of artistic and literary tasks aligns with the given instructions, demonstrating understanding and the ability to analyze and justify. An overall picture of integrated and public art has been formed, but there may be some deficiencies.

Assessment criteria, excellent (5)

EXCELLENT (5)
Participation is extremely active. Artistic and literary performances demonstrate a comprehensive understanding, and knowledge is applied in a multidimensional manner or placed in different contexts. Productions and reports show an independent approach and insight, as well as collaborative skills. Reporting includes well-founded personal thinking and critical reflection. The production and its reporting are polished.

Materials

Hiltunen, M. (2009) Yhteisöllinen taidekasvatus.

Kantonen (toim.) (2010) Ankaraa ja myötätuntoista kuuntelua.

Rantala, P. & Jansson, S.-M. (toim.) (2013) Taiteesta toiseen.

Coutts, G., Harkonen, E., Huhmarniemi, M., Jokela, T., tiedekunta, T., & Design, F. o. A. a. (2018). The Lure of Lapland: A handbook of Arctic Art and Design. Lapin yliopisto.

Jokela, T., Coutts, G., Huhmarniemi, M., Harkonen, E., tiedekunta, T., & Design, F. o. A. a. (2013). Cool: Applied visual arts in the North. Lapin yliopisto.

Lacy, S. (1995). Mapping the terrain: New genre public art. Bay Press.

Matarasso, F. (2019). A restless art: How participation won, and why it matters. Calouste Gulbenkian Foundation.

Matarasso (2019). Restless art. https://arestlessart.files.wordpress.com/2019/03/2019-a-restless-art.pdf

Relate North publications

Further information

Target groups SOVE2, AAD1, AAD2, KUVO International students

Execution methods

Lectures 10 h, workshops 30 h, independent work 68 h. Teaching is delivered face-to-face.

Accomplishment methods

Required active participation in lectures, exercises, and collaborative workshops. Carrying out individual and group tasks, presentations of art practices and short written reflection.