Arts Integration in Social Justice and Community Service: Simple Acts of Expression and Self-Discovery
Author(s):
Jeffrey Jones (presenting / submitting) Allison Downey
Conference:
ECER 2014
Format:
Paper

Session Information

29 SES 12 B, Arts, Development and Communities

Paper Session

Time:
2014-09-05
09:00-10:30
Room:
B111 Sala de Aulas
Chair:
Sílvia Simoes

Contribution

Promoting engagement in civic activity is a social priority for communities and states around the world. Community practitioners have viewed the visual, musical, and performing arts as a medium of communication and connection, and the use of the arts has been linked to increased enthusiasm and engagement. The arts have been integrated into community service and social justice in multiple creative ways. However, little work describes the meaning-making process for those involved in incorporating the arts in community action, particularly for adolescent participants. This paper explores the perceived benefits of arts integration in PeaceJam, an innovative and international community service program. Ethnographic observation and interpretive interviews provide access to the lived experience of adolescent participants, and their narratives describe how the use of the arts promotes awareness, personal transformation, and enables a greater perceived impact.

Hocey (2005) notes the reciprocal effects of personal and social transformation, connected through the “power of the image” (p. 7). Emerging work suggests that as people engage in activities related to social action there can be transformative experiences for the individual and the community (Ginwright & James, 2002; Lewis-Charp, Yu, & Soukamneuth, 2006). Indeed, there are voices that are re-scripting the social narrative of adolescents as adults-in-transition or as works-in-progress (Wyn & White, 1997), advancing a view of powerful agents of social change (Ginwright, Noguera, & Cammarota, 2006).

The integration of the arts in social action can inspire life-altering changes for participants. “Arts integration refers to the effort to build a set of relationships between learning in the arts and learning in the other skills and subjects of the curriculum” (AEP, 2003). Eisner (2002) asserts that “work in the arts is not only a way of creating performances and products; it is a way of creating our lives” (p. 3). Research suggests beneficial effects of arts integration on social and emotional development, critical thinking, and student learning in school (AEP, 2003). The arts can promote engagement in social actions, and affect the development of voice and agency (Griffiths, Berry, Holt, Naylor, Weekes, 2006). Creating and sharing artistic productions is especially motivating for students; experiencing change through personal and group effort promotes the development a sense of self-efficacy (Bransford, 1999).

The arts can further play an instrumental role in forwarding social causes. Visual culture can be a powerful facilitator of community change and has been employed in the pursuit of democratic principles and social justice (Darts, 2004). Aesthetic experiences force people to apply new lenses of interpretation to mundane hegemonic forces (Samson, 2005). Participation in the arts requires exploration of different perspectives, and involves collaboration as artistic expressions are leveraged in promoting social messages in community actions (Darts, 2004).

This paper engages the process whereby individuals develop a sense of purpose and agency in the context of the arts in social justice through the experience of those adolescents forging a new path in life. We are guided by the following framing questions: How does the PeaceJam organization integrate the arts to engage participants and forward social justice? What do PeaceJam participants discover about themselves through engagement with the arts during their service projects? What are the perceived benefits of using the arts as a medium for social justice? 

Method

PeaceJam is a community-based social action program that was created 18 years ago in an effort to engage gang members an urban center in prosocial activities. Since that time, over 1,000,000 adolescents have participated worldwide. Through the course of this program, high school students (“PeaceJammers”) study the lives of select Nobel Peace laureates, identify a pressing community issue, and plan and implement a social action project. The culmination of the program is a weekend spent working with a Nobel Peace laureate and presenting group projects at the PeaceJam Conference. The Archbishop Desmond Tutu shared, “It seemed like a crazy idea at the time, but it has gained an incredible kind of momentum, and it has made a huge difference in the lives of many young people by giving them hope and direction” (cited in Suvanjieff & Engle, 2008, p. 8). We take an interpretive ethnographic approach in this research (i.e., Denzin, 1987; Blumer, 1969), and multiple methods are utilized to access participants’ lived experience. Observations were recorded in field notes, and the larger ethnographic sample included all participants at five PeaceJam Conferences. Not all PeaceJam groups incorporate the arts in their service and social justice projects; we targeted individuals and groups that intentionally made the arts a part of their community action for an anonymous semi-structured interview. The purposive interview sample consists of 22 high school-aged individuals. We used a simple set of prompts in data collection (i.e., How did you use the arts in your service project? What did you learn about yourself in the process? How did the use of the arts affect your service project?) as well as follow up questions. We allowed initial observation and constant comparison to guide our analysis, and focused on specific themes as they emerged (see Charmaz, 2005; Strauss & Corbin, 1997). We engaged in an analysis of narrative, and examined individual questions across participants to identify patterns in responses and emergent themes in the data.

Expected Outcomes

We found several powerful examples of the PeaceJam organization leveraging the arts as a catalyst for expression, self-discovery, and community change. The renowned artist, human rights activist, and Nobel laureate Adolfo Perez Esquivel introduced PeaceJammers to his work in the arts and community. In a Q & A session at the conference, a PeaceJammer asked him about his work: “I was born making art. It’s part of the resistance, part of language--it’s the language of lines and form. Some use music, but it’s all the same. It’s all for the struggle of rights…you have to find that struggle in yourselves. It happens when people become their own protagonists. You are involved in such work, and this builds a critical consciousness.” We investigated how involvement in an arts-based service project provided a reflective space. Participation led to a sense of competence through helping others. Feelings of success can create a positive feedback loop, leading to self-determination and intrinsic motivation in personally meaningful activity (Reeve, Deci, & Ryan, 2004). Working for social justice further encouraged participants to develop and employ their voice and demonstrate their agency (Griffiths, Berry, Holt, Naylor, Weekes, 2006). PeaceJammers noted that the arts led directly or indirectly to increased interest, participation, engagement with the issue, and allowed them to promote understanding in their target audience: “I think it’s a creative way to spread the message we’re trying to get out.” This research may assist practitioners in diverse international communities create synergies that capitalize on curiosity, energy, and aesthetic sensibilities. Artistic spaces provide the context and inspiration for engagement and transformation, and can result in momentous acts of community change. This is a critical area of study, as social policy makers are looking to alternatives to traditional schooling in supporting positive development in the community.

References

Arts Education Partnership. (2003). Creating quality integrated and interdisciplinary arts programs: Integrating the arts throughout the curriculum. Washington, DC: Report of the Arts Education Partnership National Forum. Blumer, H. (1969). Symbolic interactionism: Perspective and method. Prentice Hall. Bransford, J., Brown, A.L., & Cocking, R.R. (Eds.). (1999). How people learn: Brain, mind, experience, and school (Expanded Ed.). Washington, DC: National Academy Press. Charmaz, K. (2005). Grounded theory in the 21st century: Applications for advancing social justice studies. In N.K. Denzin, & Y.S. Lincoln (Eds.), Handbook of qualitative research (3rd edition). Thousand Oaks, CA: Sage. Darts, D. (2004). Visual culture jam: Art, pedagogy, and creative resistance. Studies in Art Education, 45(4), 313-327. Denzin, N.K. (1989). Interpretive interactionism. Thousand Oaks, CA: Sage Publications. Eisner, E.W. (2002). The arts and the creation of mind. New Haven, CT: Yale University Press. Ginwright, S., & James, T. (2002). From assets to agents of change: Social justice, organizing, and youth development. New Directions for Youth Development, 96. Ginwright, S., Noguera, P., & Cammarota, J. (2006). Beyond resistance!: Youth activism and community change. New York: Routledge. Griffiths, M., Berry, J., Holt, A., Naylor, J., & Weekes, P. (2006). Learning to be in public spaces: In from the margins with dancer, sculptors, painters, and musicians. British Journal of Educational Studies, 54(3), 352-371. Hocey, D. (2005). Art therapy and social action: A transpersonal framework. Art Therapy, 22(1), 7-16. Lewis-Charp, H., Yu, H.C., & Soukamneuth, S. (2006). Civic activist approaches for engaging youth in social justice. In S. Ginwright, P. Noguera, & J. Cammarota (Eds.), Beyond resistance!: Youth activism and community change. New York: Routledge. Reeve, J., Deci, E.L., Ryan, R.M. (2004). Self-determination theory: A dialectical framework for understanding sociocultural influences on student motivation. In D.M. McInerney, & S.V. Etten (Eds.), Big Theories Revisited. Information Age Publishing. Samson, F. (2005). Drama in aesthetic education: An invitation to imagine the world as if it could be otherwise. Journal of Aesthetic Education, 39(4). Strauss, A., & Corbin, J. (1997). Grounded theory methodology: An overview. In N.K. Denzin, & Y.S. Lincoln (Eds.), Handbook of qualitative research. Thousand Oaks, CA: Sage. Suvanjieff, I., & Engle, D. G. (2008). PeaceJam: A billion simple acts of peace. New York: Puffin Books. Wyn, J., & White, R. (1997). Rethinking youth. London: Sage.

Author Information

Jeffrey Jones (presenting / submitting)
Western Michigan University
Kalamazoo
Western Michigan University, United States of America

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