Practice and Reflection on the Community-Based Arts Education in Rural Area: A Case Study of Dian-Guang Community

• Main Authors: Shiun-Ping Huang, 黃薰平
• Other Authors: 林劭仁
• Format: Others
• Language: zh-TW
• Published: 2014
• Online Access: http://ndltd.ncl.edu.tw/handle/nvetw7

碩士 === 國立臺北藝術大學 === 藝術與人文教育研究所 === 102 === A paradigm shift in arts practice occurred during the late 20th century. Artists interacted and collaborated with diversified audiences to communicate about issues directly relevant to their lives. Social engagement has become an important part in the new aesthetic language, closing the previously gap between art and life. Hence, contemporary arts practice and education is of the context and the community. The Community Empowerment policy promoted since 1994 has been a strategy for Taiwan Government to resolve the anxiety of arising towns and existing rural areas under the impact of rapid urbanization. Yet, standard operation procedures were formed out of successful cases and applied to different context, depriving communities of their agency and disregarding differences in contexts, eventually sabotaging the goal of sustainable development in community empowerment. The new paradigm of New Genre Public Art and community-based art education foster public social engagement by making dialogue and communication possible within the diverse community, and hence, a preferable substitution of the standard operations of government policy. This study explores the possibility of using arts as a means to empower the community. A one-year fieldwork was conducted in the Dian-Guang community, Guanshan Town, Taidong District. Through participating and observing the everyday life of the community, different new lights were constantly guiding and changing the course of the arts project practiced by the researcher. Core community members in project planning were interviewed to understand the changes in public engagement after the arts project was conducted. Also, through the analysis of the researcher’s self-narrative, the transformation from an outsider to an insider was also noted. Study shows that: 1. Phasic and gradual conduct of the arts project had provided space for reflection and adjustment in practice, hence promoting the community participation; 2. Artist’s in-depth participation in the community life facilitated mutual bonding and the formation of public community; 3. Community-based arts practice requires joining efforts of all, artist should continually engage more outer-resources. This study suggests that community-based arts education is important towards community building and learning, and artist/researcher should take on the responsibility of social practitioner.