abstract: This study provides insights into expanding the concepts of community arts in general and more specifically community-based art practices (CAP); highlights the participatory characteristics in the processes of CAP, and seeks to discern the mechanism that contributes to the formation of community collective identity. Revolving around Bhattacharyya’s (1995, 2004) conceptualization of community development, this study found it essential for exploring the fundamental concept of community in relation to community identity. To examine the concept of community identity, this research anchors the inquiry by studying how community-based art practice contributes to community identification and seeks to discover the connection between identity process and social change. The research also discusses the emergent concepts that serve as influential factors to the formation of community identity and proposes an alternative identification mechanism, ‘jen-tung’ process, which provides a needed new dimension to the existing theories of social identity formation and community efficacy development. / Dissertation/Thesis / Doctoral Dissertation Community Resources and Development 2020

Thesis (MPhil)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The central theme of this thesis is to establish the use of visual art for community development. This is done within the context of South Africa in Kayamandi, a Black Township near Stellenbosch. This example has been chosen because one of South Africa's major developmental challenges lies in Black Townships, due to the previous government's negligence toward these areas. Since the thesis focuses on a Black Township, the history of Black visual art during the 20th century, under colonial and postcolonial regimes is analysed. Subsequently, the notion of community development and how visual art contributes to development is outlined. The important role that community arts and community arts centres play in the contribution of visual art to community development is also defined. To this end qualitative and quantitative research has been conducted in Kayamandi. Artists, visual art groups and possible community arts centres were identified. By way of the Kayamandi study, it is understood that visual art is an established practice in Kayamandi. Under specified circumstances, visual art practice in Kayamandi does lead to community development. The establishment of a community arts centre could further increase people's use of visual art for community development. / AFRIKAANSE OPSOMMING: Die sentrale doel van die tesis is om die gebruik van visuele kuns vir gemeenskapsontwikkeling vas te stel. Dit word vasgestel binne die Suid- Afrikaanse konteks met spesifieke verwysing na Kayamandi, 'n Swart woonbuurt naby Stellenbosch. Dié gemeenskap is gekies omdat Swart woonbuurte een van Suid-Afrika se grootste ontwikkelingsuitdagings vergestalt. Dié uitdaging is die gevolg van nalatigheid van die vorige apartheidsregering ten opsigte van die gebiede. Die geskiedenis van Swart visuele kuns gedurende die 20ste eeu tydens die koloniale en postkoloniale regimes word ondersoek. Gevolglik word gemeenskapsontwikkeling en hoe visuele kuns daartoe bydra uiteengesit en bespreek. Verder word die belangrikheid van gemeenskapskuns en - kunssentrums én hul bydrae tot visuele kuns vir gemeenskapsontwikkeling gedefiniëer. Vir dié doel is kwalitatiewe en kwantitatiewe navorsing in die verband in Kayamandi gedoen. Kunstenaars, visuele kuns groepe en moontlike gemeenskapskunssentrums is ge-identifiseer. Die Kayamandi studie bewys dat visuele kuns 'n gevestigde praktyk in Kayamandi is. In gespesifiseerde omstandighede dra visuele kuns wel tot gemeenskapsontwikkeling in Kayamandi by. Die ontwikkeling van 'n gemeenskapskunssentrum in Kayamandi sal die inwoners se gebruik van visuele kuns vir gemeenskapsontwikkeling vergroot.

This internship report is an overview of KID smART and the fiduciary responsibility it provides to the citywide arts education initiative Any Given Child - New Orleans (AGCNO). I began my 480-hour internship with KID smART in February 2015 to work on getting AGCNO off the ground. The following report combines on-site observational research, expertise I developed from my educational training, and independent research to provide an analysis of KID smART and AGCNO’s current position, strengths, weaknesses, opportunities, and threats. Additionally, this report provides recommendations on how to address specific issues with operational management in order for AGCNO to establish independence and sustainability.

Ce travail de recherche explore les raisons et les enjeux de l’essor des arts communautaires à Belfast de 1979 à 2006. Il a pour objectif de mettre en relief une interdépendance entre les stratégies déployées pour résoudre le conflit nord-irlandais et le développement des arts communautaires. Nous avons, dans un premier temps, analysé le contexte dans lequel les arts communautaires ont émergé à Belfast. Nous avons, ensuite, étudié en parallèle le développement des stratégies mises en œuvre tant sur le plan national qu’européen et l’essor des arts communautaires. Principalement présents dans les quartiers catholiques, les arts communautaires ont d’abord été l’expression d’une résistance aussi bien artistique que politique. Au cours des années 90, le regard que les milieux décisionnels portent sur les arts communautaires évolue, notamment sous l’impulsion de l’Europe dont les Programmes pour la Paix et la Réconciliation encouragent la participation des habitants à des projets variés. Identifiés comme moteur de changement, les arts communautaires apparaissent en mesure de répondre aux attentes gouvernementales et européennes en termes de construction de la paix, de cohésion sociale, de relations communautaires et de développement économique. Dans un contexte de sortie de conflit, la municipalité de Belfast, désireuse de transformer l’image de la ville et de s’ouvrir sur l’extérieur, place les arts et la culture au cœur d’une stratégie de reconversion urbaine. / This dissertation looks into the factors that have caused the Belfast community arts sector to grow over a period of time that was marked by major political changes. Indeed, in the 80s community arts, which developed primarily in Catholic working-class areas against a backdrop of communal violence and community activism, were marginalised, undervalued and underfunded. In the 90s, this situation gradually changed as the British government and Europe came to realise the contribution community arts could make to peace building, social cohesion, community relations and economic development by enhancing community confidence. The impact this shift in approach has had, has been particularly impressive in the field of arts and culture where cultural trends promoting greater participation and wider access to the arts have gained momentum. In practice, the gradual move from arts policy to cultural policy has meant that community arts have been placed! at the heart of Belfast’s regeneration process and increasingly used as a tool to further public policies.

Art is often used as a catalyst to stimulate redevelopment and neighborhood change. This often occurs inadvertently as the presence of artists in certain communities can attract both public and private investment to revalorize economically depressed areas. Marginal neighborhoods in inner-urban areas offer inspiration and diversity to artists seeking lower-cost housing. Their presence effectively makes these marginal communities "safe" for middle-class residents looking to live in a funky, urban neighborhood. Ultimately, however, artists are eventually priced out of the communities they helped to create. The Alberta district in northeast Portland, Oregon has used art to create an identity that distinguished it from other redeveloped neighborhoods throughout the city, having become known as the Alberta Arts District. The research presented in this thesis traces the history of the Alberta district from its roots as a thriving streetcar community through its years as a dilapidated, crime-ridden neighborhood, and into its current state as a vibrant arts district. I show how the commercial corridor along Alberta Street has evolved to reflect the changing demographic composition of the surrounding neighborhood. Additionally, housing in the surrounding residential neighborhood has experienced a dramatic increase in average sale price and an upfiltering of aesthetic appearance. Many are attracted to the Alberta district for its vibrancy and diversity, the people and businesses that contribute to the diverse atmosphere may disappear as real estate becomes increasingly more expensive.

This thesis documents and presents a critical study of an adversary tradition of culture in South Africa. Through a detailed study of the Pietermaritzburq Community Arts Project, analysing cultural activities developed in opposition to established forms, themes and techniques, the writer documents the growth and development of a concept of popular culture which posits conscious cultural challenges to white hegemony as well as the conventional notion of bourgeois culture of, for example, "going to the theataah." (Tomaselli, 1987 :2) In addition, this thesis explores the potential of culture as a weapon in the liberation struggle in South Africa, in terms of mobilising and conscientising people. Chapter One focuses on the theoretical framework, rationalising salient features of contemporary materialist critical theory. The chapter goes on to posit a critical strategy which analyses the discourses of culture in relation to ideology. Chapter Two tackles the problem of 'cultural hegemony,' using the Gramscian concept of hegemony, where the ruling classes are able to induce the masses to consent to their subordination. Chapter Two is also a discussion of the much contested question of a "working class culture". We have seen, for example, that opera and poetry as specific facets of culture have often been dismissed as a ruling class indulgence (German, 1991 :12). Yet the relationship between culture and class is rather complex. Nor is it one that socialists can afford to ignore. Questions of culture have often been central to revolutionary politics. Hence Chapter Two will explore the Marxist tradition in attempting to ascertain whether there is such a thing as a specific working class culture. In particular, the ideas and writings of Leon Trotsky will be heavily drawn upon when debating the question. Chapter Three provides an historical overview of the Pietermaritzburg Community Arts Project, and explicates the modus operandi of the project. A brief consideration is also provided of two other cultural projects that have been singled out for mention as they are of particular significance to this study. This chapter also provides an analysis of the actual study conducted. Here the methodology, findings and results will be discussed. Finally, Chapter Four summarises the preceding sections and attempt to arrive at certain conclusions. This thesis attempts to contribute to the advancement of cultural studies in South Africa by focusing on a particular cultural project that is currently in operation in Pietermaritzburg. This thesis also shows that historians, social scientists as well as political activists can benefit by supplementing their work with some knowledge of the manner in which culture is linked both to social consciousness and strategies of resistance in a country where normal channels of communication have long been suppressed. / Thesis (M.Soc.Sci.)-University of Natal, Durban, 1993.

This thesis adopts a Cultural Industries framework to examine how Queensland's arts council network has, through the provision of arts products and services, contributed to the vitality, health and sustainability of Queensland's regional communities. It charts the history of the network, its configuration and impact since 1961, with particular focus on the years 2001 - 2004, envisages future trends, and provides an analysis of key issues which may be used to guide future policies and programs. Analysis is guided by a Cultural Industries understanding of the arts embedded in everyday life, and views the arts as a range of activities which, by virtue of their aesthetic and symbolic dimensions, enhance human existence through their impact on both the quality and style of human life. Benefits include enhanced leisure and entertainment options, and educational, social, health, personal growth, and economic outcomes, and other indirect benefits which enrich environment and lifestyle. Queensland Arts Council (QAC) and its network of branches has been a dominant factor in the evolution of Queensland's cultural environment since the middle of the 20th century. Across the state, branches became the public face of the arts, drove cultural agendas, initiated and managed activities, advised governments, wrote cultural policies, lobbied, raised funds and laboured to realise cultural facilities and infrastructure. In the early years of the 21st century, QAC operates within a complex, competitive and rapidly changing environment in which orthodox views of development, oriented in terms of a left / right, or bottom up / top down dichotomy, are breaking down, and new convergent models emerge. These new models recognise synergies between artistic, social, economic and political agendas, and unite and energise them in the realm of civil society. QAC is responding by refocusing policies and programs to embrace these new models and by developing new modes of community engagement and arts facilitation. In 1999, a major restructure of the arts council network saw suffragan branches become autonomous Local Arts Councils (LACs), analogous to local Cultural Industry support organisations. The resulting network of affiliated LACs provides a potentially highly effective mechanism for the delivery of arts related products and services, the decentralisation of cultural production, and the nurturing across the state of Creative Community Cultures which equip communities, more than any other single asset, to survive and prosper through an era of unsettling and relentless change. Historical, demographic, behavioural (participation), and attitudinal data are combined to provide a picture of arts councils in seven case study sites, and across the network. Typical arts council members are characterised as omnivorous cultural consumers and members of a knowledge class, and the leadership of dedicated community minded people is identified as the single most critical factor determining the extent of an LAC's activities and its impact on community. Analysis of key issues leads to formulation of eight observations, discussed with reference to QAC and LACs, which might guide navigation in the regional arts field. These observations are then reformulated as Eight Principles Of Effective Regional Arts Facilitation, which provide a framework against which we might evaluate arts policy and practice.

Thesis (MTech (Design)--Cape Peninsula University of Technology, 2016. / The research was motivated by my lived experience in the Olifants River community of Namaqualand. In this community there are many diverse ethnic and social groupings with considerable potential to contribute to indigenous knowledge and creative practices. These groupings are, however, fragmented, with no platform for their varied and rich cultural assets to be displayed and acknowledged. In addition, the research was motivated by the call for a platform for the arts in the region. It is argued that visual art practice is an instrumental tool in the advancement of both creativity and social cohesion in this community. The research commenced with a pilot study, comprising workshops, which were run by art practitioners from various sectors in the region. Primary literature that influenced the emerging research design was that of Solomon (2007) as well as the holistic cultural viewpoints of Schafer (2014). The organic process of qualitative research methods as described by Ellingson (2009) was a natural personal directive. Body mapping was used during a preparatory phase that led to the creative exploration of community members’ own identity. Storytelling and dance were included in the design methodology since they enabled a psychosocial process of validating art practice as an economic asset within the community as well as enhancing social cohesion in the community. Crystallisation methods implemented in the process-driven body map workshops were held for grassroots -, town – and township sectors in the Olifants River valley. Each of the workshops comprised ten participants who were invited to participate in a subsequent do-designed collaborative event.

South Africa has witnessed series of social unrest, many of which ended in violence by very poor communities who allege poor delivery of basic goods and services. The majority of South African citizens are poor and pervasive inequality exists between men and women and between black and white peoples of the country. The poverty alleviation strategies inequalities and the consequences of poverty amongst women in rural areas (Ozoemena, 2010). Cacadu District municipality has done a study analysis on poverty alleviation in 2009-2010 together with the Baviaans municipality to verify which areas was the most poorest in Baviaans municipality. The findings came as Vondeling and Riertbron which was the poorest area. The focus was on tourism side because Baviaans is the tourist area.Rietbron and Vondeling is part of Baviaans Arts and craft program that was previously funded by DEDEAT R500, 00 but only benefited after incorporated to Baviaans municipality as they were previously managed by Cacadu District Municipality before and the municipality decided to invest in this areas. The funding for DEDEAT was utilized for trainings, starting material and equipment’s and building of the Baviaanskoof Craft Shop for two projects which is Vondeling and Steytlerville and Rietbron did not benefit at that time. This study focuses on the income generating projects in Baviaans municipality with the view to describe the experiences of individuals who participate in these income generating projects. The objective of this study was to evaluate the contribution of income generating projects in addressing poverty alleviation. Steytlerville projects is using waste materials like old newspaper, raw material, broken cups to do jewellery .Vondeling and Rietbron project is an angel factory producing beaded wire angels by using materials locally produced merino wool, wire wool, beads and local products such as ostrich feathers .This study is based on a case study which gives a description of poverty and reflects an involvement process of beneficiaries or communities in an income generating project and how it is impacting on their livelihoods. Qualitative and quantitative methodology were used. According to Neuman (2000: 30), the quantitative data methods refer to the collection of data using numbers, counts and measures of things and qualitative research basically involves the use of words, pictures description and narratives”. Data was collected for interviews. In order to collect accurate information, an interview was conducted based on the author’s research questions. Research was conducted in different areas like Steytlerville, Vondeling and Rietbron. A questionnaire was used as a form of data collection for the three projects. These interviews were conducted formally in a focus group composed of the projects members. In Steytlerville they were 5 members, Vondeling 7 members and Rietbron10 members which make a sample of 22 members. These projects have two craft shop where they sell their product which is Willomore craft shop and Baviaanskloof craft shop. The craft shop has been established to create an outlet by which locally sustainably made craft can be displayed and sold. The craft shop has been developed in such a way that is a real life example of a green building and business .The craft shop is an example of how to be environmentally friendly and utilise nature in such a way that it is sustainable and does not destroy it. The research findings suggested that in certain instances, Baviaans Craft project has been successful in generating income for members. The market for these crafters is mainly tourists. From this research it came out clear that some of the project members were able to acquire skills which help them to find employment in well-established craft business. Despite the successful of Baviaans Craft project, the project members were somewhat constrained in managing and running the business. For example with response for special markets, they had to make use of external skills i.e. someone who made contacts with the export market and there after divide the profits amongst members. The project members were not adequately empowered in management skills.

This treatise explores the role of craft and craft training as a tool within poverty it looks to question the sustainability of this approach. The research was conducted amongst three community school sites. These were structured to better the relationships between schools and community members, in particular school parents. As the data had been collected through open questionnaires, after the first phase of implementation, it found that each site was trained in entrepreneurship and a craft skill. These were exercised through a selling opportunity within the Sundays River Valley. Assessments of the project looked to question and consider not only the implementation and framework of the project, but the expectations of both the participants and the facilitators. The data collected was reviewed in regards to the SRV Project’s goals and successes, as well as the universal measurements of success viewed within craft based projects and programmes with a poverty reduction focus. Findings showed that the project, though successful in meeting the basic goals, faced challenges in regards to funding, time constraints, participation consistency and challenges in market and product understanding. Recommendations were made in accordance with indicators highlighted in successful and sustainable models of craft based poverty alleviation projects.