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Socially Relevant Art: Service-Learning and the Philosophy of Artby Mary Zimmerle
The
Pennsylvania State Standards in the Arts and Humanities
make clear that art education should surpass the
basic learning of a craft. It states that “The
arts represent society’s capacity to integrate
human experience with individual creativity. Comprehensive
study of the arts provides an opportunity for all
students to observe, reflect and participate both
in the arts of their culture and the cultures of
others. Sequential study in the arts and humanities
provides the knowledge and the analytical skills
necessary to evaluate and critique a media-saturated
culture. An arts education contributes to the
development of productive citizens who have gained
creative and technological knowledge necessary for
employment in the 21st Century” (http://www.pde.state.pa.us/k12/lib/k12/arts.pdf,
page 2).
With this understanding of art education, combining its objectives with the methodology of service-learning makes sense. Starting such a project, though, might seem a little difficult at first. What community issues could your art class thoughtfully address through a service-learning project? How could those needs be met through a meaningful artistic endeavor? Delving into the recent history of art can help begin to answer these questions.
Pamela G. Taylor of the University of Georgia addresses recent art and the concept of a socially relevant postmodernism in the recently published article, “Service-Learning as Postmodern Art and Pedagogy”. She explains that postmodern art, in which experience, collaboration and reflection are all necessary and important factors, can become a very positive and significant model for conducting service-learning projects. According to Taylor, “A postmodern work of art:
Taylor describes Great Cleansing of the Rio Grande, by Dominique Mazeud, as a socially relevant art piece that involves a community and a cause. In short, since September 1987, Mazeud has walked the riverbed of the Sante Fe River on the 17th day of each month, picking up the trash that collects around the edges of the river. She does not do this alone, but invites friends and other volunteers to participate in this piece of art and service. What is important about this piece is its monthly consistency. Cleaning up the river only once would have a weak social and artistic impact, especially when compared with the monthly ritual of cleansing the area. This ritual “serves to connect her art and life through intense and continual critical reflection” (126), and helps transform this service project into tangible social change and a solid artistic statement.
By approaching “daily life as a meaningful interconnected performance”, Mazeud is able to incorporate teaching, curating and lecturing on art with performance, journal writing and community collaboration (125). This constant use of art in everyday life has allowed her to create meaningful change through her talents. In this manner, art moves beyond a mastered skill, to a creative, philosophical and socially relevant act of reflection and conviction.
Your students’ projects will most likely not be such an abstract piece, since performance art such as Mazeud’s tends to be introduced in college art programs. However, reflecting on this piece can help your students understand how they’re talents and passions can be translated into meaningful service-learning pieces and projects.
Exposure to this type of art may also challenge your students’ conceptions about what art is, what philosophy is, and how the two interact and merge on different levels. This type of art, linking actions with thought, moves beyond simple learning and practice of a craft. It delves into more philosophical and political questions, questions that your high school students contemplate everyday. Push them to examine why and how Mazeud’s cleaning up of the river is simultaneously art and service? Why and how are those actions important to the community as art and as service? They will discover that the combination of ritual, reflection and action work together to make this project the meaningful and active piece of art that it is.
Studies of art pieces such as this can help to fulfill a multitude of arts education standards, including those in Historical and Cultural Contexts (9.2), Critical Response (9.3), and Aesthetic Response (9.4). A piece such as Mazeud’s could be used to address the following standards:
9.4.12.A: “Evaluate an individual’s philosophical statement on a work in the arts and its relationship to one’s own life based on knowledge and experience.”
9.4.12 B. “Describe and analyze the effects that works in the arts have on groups, individuals and the culture (e. g., Orson Welles’ 1938 radio broadcast, War of the Worlds).”
9.4.12 C. “Compare and contrast the attributes of various audiences’ environments as they influence individual aesthetic response (e. g., viewing traditional Irish dance at county fair versus the performance of River Dance in a concert hall).”
9.4.12 D. “Analyze and interpret a philosophical position identified in works in the arts and humanities.”
What types of projects can your students create and participate in to combine service and artistic talents and statements? Painting murals, sponsoring and teaching in community art classes, planning an event and forum for local artists, and exploring the uses of green design are all viable options for your high school students. Any of these activities can be used to encourage dialogue, learn about artist initiatives in their community and offer socially relevant and participatory projects that will better and involve the community. Students most likely have their own social issues that they would like to address through their work. Encourage them to think creatively about what is important to them and how they can utilize their talents to engage and/or educate their communities.
For more specific examples, visit http://www.beansandrice.org/service.html for the service-learning project, Beans and Rice, Inc., in which Pamela Taylor involves her art students.
With this understanding of art education, combining its objectives with the methodology of service-learning makes sense. Starting such a project, though, might seem a little difficult at first. What community issues could your art class thoughtfully address through a service-learning project? How could those needs be met through a meaningful artistic endeavor? Delving into the recent history of art can help begin to answer these questions.
Pamela G. Taylor of the University of Georgia addresses recent art and the concept of a socially relevant postmodernism in the recently published article, “Service-Learning as Postmodern Art and Pedagogy”. She explains that postmodern art, in which experience, collaboration and reflection are all necessary and important factors, can become a very positive and significant model for conducting service-learning projects. According to Taylor, “A postmodern work of art:
- Functions socially and politically;
- Interconnects power and knowledge in social representations;
- Connects art and life through critical self-reflection and transformation;
- Draws attention to cultural identity through mini-narratives, flexibility and interdisciplinarity;
- Employs paradox and conflict;
- Expands the definition of what is as well as who can make art to involve collaboration and viewer participation” (126).
Taylor describes Great Cleansing of the Rio Grande, by Dominique Mazeud, as a socially relevant art piece that involves a community and a cause. In short, since September 1987, Mazeud has walked the riverbed of the Sante Fe River on the 17th day of each month, picking up the trash that collects around the edges of the river. She does not do this alone, but invites friends and other volunteers to participate in this piece of art and service. What is important about this piece is its monthly consistency. Cleaning up the river only once would have a weak social and artistic impact, especially when compared with the monthly ritual of cleansing the area. This ritual “serves to connect her art and life through intense and continual critical reflection” (126), and helps transform this service project into tangible social change and a solid artistic statement.
By approaching “daily life as a meaningful interconnected performance”, Mazeud is able to incorporate teaching, curating and lecturing on art with performance, journal writing and community collaboration (125). This constant use of art in everyday life has allowed her to create meaningful change through her talents. In this manner, art moves beyond a mastered skill, to a creative, philosophical and socially relevant act of reflection and conviction.
Your students’ projects will most likely not be such an abstract piece, since performance art such as Mazeud’s tends to be introduced in college art programs. However, reflecting on this piece can help your students understand how they’re talents and passions can be translated into meaningful service-learning pieces and projects.
Exposure to this type of art may also challenge your students’ conceptions about what art is, what philosophy is, and how the two interact and merge on different levels. This type of art, linking actions with thought, moves beyond simple learning and practice of a craft. It delves into more philosophical and political questions, questions that your high school students contemplate everyday. Push them to examine why and how Mazeud’s cleaning up of the river is simultaneously art and service? Why and how are those actions important to the community as art and as service? They will discover that the combination of ritual, reflection and action work together to make this project the meaningful and active piece of art that it is.
Studies of art pieces such as this can help to fulfill a multitude of arts education standards, including those in Historical and Cultural Contexts (9.2), Critical Response (9.3), and Aesthetic Response (9.4). A piece such as Mazeud’s could be used to address the following standards:
9.4.12.A: “Evaluate an individual’s philosophical statement on a work in the arts and its relationship to one’s own life based on knowledge and experience.”
9.4.12 B. “Describe and analyze the effects that works in the arts have on groups, individuals and the culture (e. g., Orson Welles’ 1938 radio broadcast, War of the Worlds).”
9.4.12 C. “Compare and contrast the attributes of various audiences’ environments as they influence individual aesthetic response (e. g., viewing traditional Irish dance at county fair versus the performance of River Dance in a concert hall).”
9.4.12 D. “Analyze and interpret a philosophical position identified in works in the arts and humanities.”
What types of projects can your students create and participate in to combine service and artistic talents and statements? Painting murals, sponsoring and teaching in community art classes, planning an event and forum for local artists, and exploring the uses of green design are all viable options for your high school students. Any of these activities can be used to encourage dialogue, learn about artist initiatives in their community and offer socially relevant and participatory projects that will better and involve the community. Students most likely have their own social issues that they would like to address through their work. Encourage them to think creatively about what is important to them and how they can utilize their talents to engage and/or educate their communities.
For more specific examples, visit http://www.beansandrice.org/service.html for the service-learning project, Beans and Rice, Inc., in which Pamela Taylor involves her art students.
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The Pennsylvania Service-Learning Alliance dissolved as of June 30, 2007. The website will stay posted for one more year, so please share the resources. We are sorry that we will not be able to answer any questions you may have. Good luck with all your future service-learning endeavors!