Fostering an Artistic Community: Art Programming in Mount Olive, New Jersey. by acrobles

FOSTERING AN ARTISTIC COMMUNITY: ART PROGRAMMING IN MOUNT OLIVE, NEW JERSEY By ANA C. ROBLES

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS

UNIVERSITY OF FLORIDA 2013

FOSTERING AN ARTISTIC COMMUNITY

2013 Ana C. Robles

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Acknowledgements I want to acknowledge my husband, Francisco Galindo, and my children, Ana-Laura and Francisco A., for their enduring support, inspiration, patience, and love; my parents for believing in my artistic abilities; I would not have been able to get this far had they not supported me the way they did in my early years. Thank you to my Capstone Committee, Jodi Kushins and Craig Roland, for all their encouragement and support; their views and ideas were always positive and inspiring through this amazing journey. I thank Jill Daggon, from the Mount Olive Recreation Department; Denise Palmisano, Abbe Leff, and the Mount Olive Library, as representatives of the Mount Olive Community; Mirtha Robles, for her advices in research; Cruz Socas, for proofreading many of my papers; and Cliff Greenwood, who has been such a great adviser in my usage of English as a second language. I also want to thank my little art students for inspiring me, and GOD, for giving me the opportunity to serve and work in such a wonderful profession: teaching art. Thank you!

FOSTERING AN ARTISTIC COMMUNITY

ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS

FOSTERING AN ARTISTIC COMMUNITY: ART PROGRAMMING IN MOUNT OLIVE, NEW JERSEY By Ana C. Robles December 2013

Chair: Jodi Kushins Committee Member: Craig Roland Major: Art Education Abstract This Capstone paper describes the research process, findings, and recommendations in the development of community-based art activities for Mount Olive, New Jersey. First, I advocate the need for artistic events in the town of Mount Olive and I researched past and present artistic experiences in the Mount Olive Recreational Department. Then, I collected the opinion and ideas of people in the community. As part of my endeavor, I made public my views and benefits on community-based art activities and collaborative art projects at the Mount Olive Library. My recommendations included possible artistic activities in town and the need of teamwork among public agencies. I complete this capstone paper with insights and learnings from the positive responses of the community and the desire of public entities in the development of more community-based art activities for Mount Olive Township. Keywords: community, community-based art, collaborative art, public agencies. Website: www.acrobles.weebly.com

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Table of Contents Title Page UF Copyright page Acknowledgements ...................................................................................................................................... 3 Abstract ........................................................................................................................................................ 4 Table of Contents ......................................................................................................................................... 5 Fostering an Artistic Community: Art Programming in Mount Olive, New Jersey ............................. 7 Statement of the Problem .......................................................................................................................... 7 Purpose of the Study .................................................................................................................................. 8 Research Questions ................................................................................................................................... 9 Rationale and Significance of the Research .............................................................................................. 9 Assumptions ............................................................................................................................................. 10 Definition of Terms.................................................................................................................................. 10 Limitations of the Study ........................................................................................................................... 11 Literature Review ...................................................................................................................................... 12 Former Views on After-school Art Programs and Community-based Art Centers................................. 13 Community-based Art Centers as a Complement to Public Art Education ............................................ 14 The Value of Art for Individuals and Communities................................................................................. 15 Methodology ............................................................................................................................................... 16 Subject Selection, Site and Description................................................................................................... 17 Data Collection Procedures and Analysis .............................................................................................. 21 Limitations ............................................................................................................................................... 25 Findings ...................................................................................................................................................... 26

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Leadership ............................................................................................................................................... 26 Information .............................................................................................................................................. 27 Participatory Interest .............................................................................................................................. 27 Summary .................................................................................................................................................. 27 Conclusions and Recommendations......................................................................................................... 28 Discussion and Interpretation of Findings.............................................................................................. 29 Significance, Implications, and Recommendations ................................................................................. 30 References................................................................................................................................................... 32 Appendix A ................................................................................................................................................. 36 Appendix B ................................................................................................................................................. 37 Appendix C ................................................................................................................................................. 39 Appendix D ................................................................................................................................................. 41 Appendix E ................................................................................................................................................. 46 List of Figures and Figure Captions ........................................................................................................ 48 Author Biography ...................................................................................................................................... 49

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Fostering an Artistic Community: Art Programming in Mount Olive, New Jersey Over the year, the Mount Olive Recreation Department (MORD) in New Jersey has earned the trust and appreciation of members of the community and neighborhood townships. This recreation department has developed several enrichment programs, including foreign language labs, science, music, sports, and crafts for all ages. In addition, MORD offers several annual activities such as tournaments, walks, fairs, and a successful summer carnival that gathers over 10,000 people around town. Unfortunately, art programs at MORD generally do not have the same registration rates as other activities and enrichment programs. This fact captures my attention particularly, because I perceive there is interest in art and creativity among the population. For instance, and fortunately for me and my students, the discipline-based art education program (DBAE) I facilitate Play, Paint and Create has endured for more than five years, offering children in the area an artistic and creative space to be after school. The purpose of this research was, first, to identify the reasons why there was so little community interest in art programs previously offered through MORD and to find what kind of programs might interest people in the future. Second, to collect opinions and ideas for possible community art programs from other art educators in Mount Olive. Third, to connect public entities and open spaces to work together, nurturing an artistic community by sharing views and creating opportunities for collaborative and community-based art projects. Finally, I hoped to develop a framework of ideas for community-based programming that fosters the artistic community of Mount Olive. Statement of the Problem Having lived in Mount Olive for more than eight years, and worked with the MORD for five years, I have noticed the need for art programs and art activities, for children and adults, in

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this township. The reason for this situation was not a lack of interest but perhaps a lack of knowledge about the benefits of art, or a need for a committed organization that will bring the artistic groups together. This research is relevant to the entire Mount Olive community, but specifically the creative population that has been overlooked in the past. Young and old artists needed to be provided with more opportunities for art expression than just the ones they had in the schools. As an art advocate, I believe that even a small population of artists deserve a place to gather, express and practice art, and what a better place than public spaces. After all, art brings a community together; it helps people identify with each other, and creates conversation and social awareness in a community. Purpose of the Study The purpose of my study was to find out to what degree people in the community of Mount Olive were interested in community-based artistic activities. My plan for this research was, first, to understand why previous visual art offerings at the MORD had not succeeded in the community as Jill Daggon, supervisor of the MORD, had noted and second, to find out the opinions of key people in the community regarding the need for art programming in order to create a framework for future collaborative and community-based art projects. These kinds of artistic programming can play an important role in children’s art education as these activities work hand-in-hand with public art education and may, at the same time, complement the education taking place in public schools. As Mary Stokrocki (1986) suggested, the “child’s art world, however limited, is based on a system of conceptions conditioned by parents, school, community, and experience. These conceptions evolve and can be restructured and slowly expanded by competent art teaching” (p. 13). Others in the community would also find opportunities in the programming I propose, forming a community of creative practitioners.

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Research Questions Mount Olive Recreational Department has a gap in visual art programs for the community. The questions addressed in this research are based on my desire to create more community-based art opportunities for the Mount Olive area. Therefore, it was important for my capstone project to determine: 1. Are people in Mount Olive interested in more community-based art opportunities, and if so, what kind of programs? 2. What role might schools and public entities play in collaborative and community-based art projects in Mount Olive? These open-ended questions gave me avenues for gathering significant information in the understanding of community behavior. My desire was to find key individuals in public entities that helped me find good strategies for the development of a viable framework for community art programming for future generations in the Mount Olive area. Rationale and Significance of the Research As an art educator, I value the significance of art in the development of individuals and communities. I can see the positive impact that artistic activities may have for promising artists. As Beth Krensky and Seana L. Steffen (2009) stated in the book Engaging Classrooms and Communities Through Art, â&#x20AC;&#x153;art has the power to touch imagination, evoke possibilities and alter lifeâ&#x20AC;? (E-reader version, chap. 1, para. 1). In the near future, I would like people from Mount Olive to have more exposure to art, more collaborative art projects to participate in, and more opportunities to show their artistic talent and appreciate art created by the people around them.

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Assumptions Based on my observations, readings and research about art and communities, I believe that community-based art programming in Mount Olive will bring some kind of unity and sense of place to our multicultural population. It will foster artistic participation and empathy, sustain traditions, and foster a more holistic and balanced community. My hope is that this research will create a brighter future for other creative ideas and projects for artists in my community. Ulbricht (2005) stated, “If art teachers and students can clarify their community-based art education definitions and objectives, then they can envision meaningful projects and programs that are enriching and educational” (p. 11). Art helps people shape their ideas and feelings so that they can become better participants in their societies. I am pleased to have the chance to develop artistic opportunities in my community. Definition of Terms The following terms are used in this paper: Community-based art activities. This is defined broadly as artistic activities that take place outside of the K-12 schools, such as park facilities, art centers, art museums, retirement centers, and storefront galleries. Community-based art activities contribute significantly to the maintenance of neighborhood spirit and traditions that are integral to the build of a community. Through these activities, artists can teach, share, and be compensated for their crafts, empowering members of the community and enhancing their lives. Community-based art activities also raise awareness about the social, political, and economic issues that impact a community’s quality of life. Collaborative Art Projects. According to the Merriam Webster Dictionary, “collaborate” means to work with another person or group in order to achieve or do something

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(2013). Therefore, collaborative art projects are the ones that gather several artists or individuals interested in being part of a bigger art creation. The final outcome is a mix of ideas, backgrounds, and personalities working together to reach a goal. Community. According to Gusfield (1975; as cited in McMillan and Chavis, 1986), there are two major uses of the term “community.” The first is the territorial and geographical notion of community, neighborhood, town, or city. The second is concerned with the quality or characteristics of human relationships without reference to location. Durheim (1964; as cited in McMillan & Chavis, 1986) observed that modern societies develop communities around interests and skills more than around locality. Turning to a more current definition, according to the Business Dictionary, “community” is a self-organized network of people with a common agenda, cause, or interest, who collaborate by sharing ideas, information, and other resources. (Retrieved from: http://www.businessdictionary.com/definition/community.html). Recreational Department. A recreation department offers the public a network of facilities and services for organized or free play such as courts, parks, and events, and it hosts other programs that operate under supervision or direct group leadership. Public Agencies. The term public refers to agencies that are a branch of government, rely heavily on tax revenues for their support, and are intended to serve a broad spectrum of population groups with socially constructive recreational opportunities, according to Richard G. Kraus (1985). Limitations of the Study Several undertakings were developed through this research project, but, unfortunately, due to time and budget limitations, some projects will need to await future opportunities. Primarily, this is an endeavor intended to spark the interest in artistic projects among people in

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the community, and no specific programming will be developed or enacted immediately. My wish is to cultivate contacts to eventually obtain grants to support the programming and scholarships for future students. As a result, some of these possible projects might someday become a reality for the artistic population in Mount Olive. Literature Review There are several reasons why artists and educators feel the need to create communitybased art projects, in addition to developing a better appreciation of art and artistic skills. These objectives include the need to support school art programs, the desire to involve students in realworld situations, and the interest in confronting important social issues through artistic activities. Influential scholars in the field have written about the opportunities provided by artistic centers and have made recommendations for their development. One of these scholars is Laura Chapman (2005), who researched the status of elementary art education from 1997 through 2004. Her report focused in (a) state policies and trends, (b) elementary visual art education, and (c) public opinion and emerging trends related to the No Child Left Behind Act of 2001. Her conclusions lead me to value after-school programs as complements to public school offerings. Likewise, the participatory cultural practice (Taylor, 2005), connectedness, trust, and belonging that community projects offers —such as Olivia Gude’s (1989) project in Madison, Wisconsin; Sharon R. Bash’s (2006) project in Tracy, Minnesota; and Gilbert Clark and Enid Zimmerman’s (2000) Project ARTS for diverse rural communities—motivated my interest in the development of community-based art projects to fulfill, somehow, the artistic gap in the Mount Olive community.

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Former Views on After-school Art Programs and Community-based Art Centers To understand the community art center’s purposes, I will take you back in time to the 19th-century to Halifax, Nova Scotia, to one of the earliest out-of-school programs known in the history of art education. In this program, outstanding students and industrial art workers practiced their artistic skills every Saturday morning in order to gain admittance to the most prestigious art schools in town (Pearse & Soucy, 1987). Other schools, including the Normal Art School in Boston and the Pratt Institute in New York City, followed the pattern of offering extra art instruction to improve children’s talents or to foster student interest by creating more artistic instruction than they did in the schools. “On one level they [art programs] are a ‘laboratory’ in which art education students may acquire basic teaching, observational, and self-critical skills. On another level they […] are an environment in which children can gain an exposure to a wide variety of art materials and approaches” (Pearse & Soucy, 1987, p. 147). Most of the programs were very successful, although some programs encountered limitations such as inadequate physical space and financial constraints. In 1965, Elliot Eisner wrote a significant paper about curriculum art ideas in times of crisis. He suggested that the art education curriculum could be rebuilt along productive, critical, and historical aspects of art. Eisner is positive in the need of leadership in today’s art education; in his view, art leaders should be treating a time of crisis as an opportunity to grow. He stated, “[The] past is instructive, it will allow us to view the present more clearly” (p. 7). Later on, Enid Zimmerman (2011) viewed a community-based art center as an opportunity to fill in the gaps or address the crises in today’s formal art education. She provided some examples of integrated art education programs and the connection of ideas across disciplines in public schools. Both Eisner

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and Zimmerman advocated the possibility of community-based art centers, as a parallel solution to public education needs. Furthermore, J. Ulbricht (2005) described various forms of community art alternatives, including: informal teaching and programs that are not initiated by teachers; organized community teaching, such as that offered by museums and art community centers; outreach or altruistic programs (also mentioned by James Rolling, 2013); ethnography groups or those that identify cultures, specific interest groups, and public art; and art for the community, including visual representations of a community such as murals or sculptures in public places. Community-based Art Centers as a Complement to Public Art Education According to Jennifer Fredricks (2011), schools and out-of-school settings share multidimensional models of engagement that involves student behavior, student emotions, and the development of projects. Fredricks’ approach provided me with ample reasons for examining and understanding community-based art programming as a means to providing a parallel education to public education; her views were crucial in directing my own investigation towards fostering an artistic community in Mount Olive. Reports on community art projects in the United States describe large public projects, community-based art centers, or short-term projects as incentives for developing a sense of place through neighborhoods––some of them are focused on a town’s history or community storytelling (Gude, 1989; Hannigan, 2012; Washington, 2011; Zander, 2007). Other interesting approaches involve considerations of race, visual culture, and identity explorations through art in small art centers. Freedman, Heijnen, Kallio-Tavin, Karpati, and Papp (2013) observed that a visual culture oriented community-learning center is like a playground for creativity that has a synergy for personal and professional growth. In their opinion, visual culture learning centers are

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what schools tend not to be—places “[…] where learners act on intrinsic motivations in an atmosphere of sharing” (p. 113). The Value of Art for Individuals and Communities Elliot Eisner stated that children learn to become competent when they paint, and that the skills they learn expand their power to themselves and to what surrounds them (1978). Several other scholars valued the benefits of art in children’s development as well as in their communities (Chapman, 2005; Fredricks, 2011; Gude, 1989) Joshua Guetzkow identified two types of social art impact: individual and community (2002). The types of individual impact are material, cognitive/psychological, and interpersonal, while the community impact reflects on the economic, cultural, and social issues in a group. According to Guetzkow the individual effects are relevant for the purposes of the community, and vice versa. Many people state the different benefits of art but these are difficult to measure. Kevin McCarthy, Elizabeth Ondaatje, Laura Zakaras & Arthur Brooks (2004) claimed that the social benefits of the arts, at the community level, fall into two categories: promotion of social interaction among community members, building a sense of identity and helping to build social capital; and empowerment of communities to organize for collective action, through the development of local art groups and leaders. Andrew Taylor (2005) measured a creative community by their cultural literacy, participatory multicultural practice and communication, and professional cultural goods and services––something to take into consideration in this investigation. According to the Americans for the Art (2013, as cited in partnership movement website, http://www.partnershipmovement.org/news/p/10-reasons-to-support-the-arts-in-2013/), there are at least ten valid reasons to support the arts in communities, but here are the most important to

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this research: art is a symbol of true prosperity, it improves overall academic performance, it is good for local merchants, it builds the 21st century workforce, it improves overall health, and builds stronger communities. Grace H. Lynch (2013) and Lisa Phillips (as cited in Strauss, 2013) have very similar thoughts about the art value for the individual. For Phillips, art provides creativity, confidence, problem solving skills, perseverance, focus, non-verbal communication, constructive feedback, collaboration, dedication, and accountability. While for Lynch, art is key in the development of motor skills, language, decision-making, visual learning, inventiveness, cultural awareness, and academic performance. To conclude, and based on my review of professional literature, it is clear that a community-based art programming would have a place in Mount Olive, with the purpose of increasing community benefits, supporting public school education, and heightening the development of individuals. The variety of approaches suggested by scholars fed my desire to create possibilities that not only nurture the interests of local artists but also the non-artist individuals, and to work in the development of more artistic projects within public agencies in the area. Methodology Energetic individuals filled with the collaborative spirit, positive leaders, shared interests, as well as an ongoing communication are all part of the success of any collaborative project (Hord, 1986; as cited in Berry, 1998). In order to implement collaborative artistic opportunities in Mount Olive this research focused on: (a) learning about community needs and history of past artistic programs, (b) conducting a survey during the Mount Olive Community Summer Carnival to selected parents and other adults interested in artistic activities for themselves or their

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children, and (c) brainstorming with other art educators from the district to gather ideas for possible community-based art activities. As a final component, I presented infographics based on my early research with collaborative art activities in a public space to garner community responses to my proposal. Subject Selection, Site and Description For the selection of individuals for my investigation I used a sampling technique called “purposive sampling.” Patton stated that the main goal of purposive sampling is to focus on particular characteristics of the population of interest. Purposive sampling has different targets to study––in this research I used two of them: the convenience or expert sampling, and the snowball sampling or chain sampling. I identified with Patton (1990) when he stated, “One may learn a great deal more by focusing in depth on understanding the needs, interests, and incentives of a small number of carefully selected… families than by gathering standardized information from a large statistically representative sample of the whole program” (p. 169). As part of my “expert sampling” selection I chose MORD Supervisor, Jill Daggon. The focus of our interview was to seek information about what had happened with artistic programs in Mount Olive in the past, and what plans they had for the future (see Appendix B). Mrs. Daggon and I talk about their art programs, art instructors, and her views and desire to increase the artistic participation in the recreational department. She was aware of the importance of art programs in the development of a child and the need for creativity in today’s professional world. In the interview, Mrs. Daggon noted: “…Now we [people] are more web-oriented and social media oriented. Photos are everywhere, for everything. These are things people might not realize but art is probably in four out of five jobs.” She had some art-oriented ideas to implement in the

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recreational department, but she also believes that passion and commitment are needed to make things happen, along with a strong understanding of the value and difference that art can make in peopleâ&#x20AC;&#x2122;s life. In addition to the interview, I conducted a short survey with parents and other adults who could be future beneficiaries of the community art programs. This survey was conducted last July, with participants at the Mount Olive Community Summer Carnival. The survey included both multiple-choice questions and open responses (see Appendix C). The first part of the survey focused on peopleâ&#x20AC;&#x2122;s likes and dislikes about existing programs at the recreation department. The second part asked about their interest, and possible participation, in collaborative and community-based art activities. The responses were diverse but positive to my desire of fostering a more artistic community in the area (see Appendix D). Unfortunately, conducting the focus group was the hardest part of the research plan to complete. Teachers did not respond promptly to the invitation to participate; just two of them got involved in the focus group when reminded of the importance of contributing in community efforts. I met with each of them in their art rooms and discussed a few ideas for school involvement in community-based projects; later on they send their answers to my inquiries by email (see Appendix E). Finally, the result, the Capstone project, was organized in three parts and displayed at the Mount Olive Public Library through the month of November. The first part was an informative wall with two info-graphics I designed. Infographic A (see Figure 1) was about communitybased art and the benefits of art for the individual and for the community, and the most important artistic towns in New Jersey. Infographic B (see Figure 1) focused in collaborative art and Mount Olive experience with these kinds of projects.

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Figure 1. Infographics A & B. Fostering an artistic community: Mount Olive, NJ

The second part of the project was a display of a collaborative art piece created at the first Mount Olive Community Art Show last summer, made out of one hundred and twenty-four popsicle sticks (see Figure 2. Collaborative art piece created at the Mount Olive Community Art Show). Each stick was designed by different individuals, children and adults, and was placed together forming a big colorful piece of art, 24 x 24 inches. Finally, the last part of this project consisted of a collaborative art project where community members could participate during the display at the library. This particular piece has a significant importance to me, and I hoped, to many people in Mount Olive. It consisted of more than one hundred branches, collected when storm Sandy hit our community a year ago, put together to represent our strength. Participants

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had the chance to decorate their own branch with different color rubber bands and place them in a structure made out of intrinsic natural elements and wire (see Figure 3). Next to the collaborative art piece was a notebook where people could leave their memories about their Sandy experiences, a thank you note, or just their thoughts on the project.

Figure 2. Collaborative art piece created at the Mount Olive Community Art Show

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Figure 3. Sandy, Final Collaborative Art Piece

Data Collection Procedures and Analysis The data collection took place in different venues according to the research process detailed above. The data analysis for my research was also done accordingly to the needs of each of the studies. I analyzed each bit of data as I collected it so responses guided and connected to the next step of the research process. Each of the locations and procedures are explained individually later on in this paper, and a data collection and analysis table was created for easy

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understanding and differentiation among sources (see Table 1). Thus, videos, memos, coding, and narrative analysis shaped my research project, conclusions, recommendation and results. As Maxwell and Miller (n. d.) explained, “categorizing […] and connecting strategies need each other to provide a well-rounded account in the overall design of data analysis” (As cited in Maxwell, 2004, p. 99).

Table 1. Data collection and analysis chart

Interview. The interview was videotaped and revisited multiple times; meanwhile, eight main questions where discussed in a friendly and informative conversation. Some of those questions included: Mrs. Daggon’s experience in the Recreational Department and with the community; art programs and their characteristics in the past years and present; venues and resources used for that purpose; special events as art shows, public art projects or any other related activity; other public entities in charge of promoting art in the area; her knowledge about community-based art projects and her willingness to create new opportunities for the community.

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Survey. Last summer at the community carnival twenty-five people completed a tenquestion survey on their thoughts and connection with the MORD. The first part of the survey included questions about their participation in enrichment programs and their knowledge about todayâ&#x20AC;&#x2122;s art programs in the township. The second part focused on their interest in future artistic opportunities (with people showing special interest in drawing, watercolor and photography). In this part, they also had the opportunity to respond to open-ended questions about their knowledge on community-based art projects, art enrichment programs, and the benefits that these projects would bring to the community. Some interesting answers included their desire for children to be involved in the arts, for an economic boom in the area, for less crime, and for improvement and beautification of the community. Participants seemed eager to participate in artistic activities and artistic enrichment programs. In their opinion, these kinds of programs encouraged socialization, entertainment, community involvement, self-expression, creativity, and educational opportunities for future generations (see Appendix D). Focus Group. Gathering art educators from public schools was not an easy task. Six educators were invited to be part of an online focus group that would brainstorm ideas for creating more art opportunities in Mount Olive. Just three of them responded to the invitation and, unfortunately, one of them was on maternity leave. Therefore, I only gathered ideas from two individuals, an art educator from one of the elementary schools in the district and the other one from the middle school. They were willing to collaborate by e-mail. The inquiries were personally handed to them, with a quick explanation about the project and the goals, so they could have time to respond and collaborate with their ideas. Within a few days they sent me their responses by e-mail. This data was reviewed and considered for future art projects in the district.

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Some of the most positive comments were that teachers could imagine students participating in community-based art projects, that students know that art exists out of their classroom, and that community-based art programs could help in cultivating students’ inner artist. Art educators stated that students involved with community-based art centers learn to grow individually and collaboratively as artists. One of the teachers recognized that the critical thinking skills of planning, analyzing, creating, and evaluating are imperative tools for the developing youth in the twenty-first century. One idea to involve schools in community art practices was the to create a “Night of the Arts” involving schools, students, staff members, teachers, and parents. The teacher stated, “ the event could include some hands-on workshops and highlight the artistic achievements of students in the visual arts and performing arts.” Capstone Project. Although the capstone project is a result of this research, its contribution added weight to the future of Mount Olive in becoming an artistic community. Once the project was hung at the public library, I gave a few staff members an explanation about the purpose of the project, so they could guide and invite visitors to participate. An e-mail invitation was extended to some of my students and friends who participated in the collaborative piece during the carnival and another invitation was public through the MORD Facebook page (see Figure 4). I visited the show daily to document the progress and opinions of people who participated.

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Figure 4. Collaborative art invitation to the community through the MORD Facebook page.

Limitations Fortunately, there were not many limitations during the research but three main points are important to emphasize in this paper. First, it was hard to keep an ideal order as to when to gather information between the survey, the interview, and the focus group, due to schedule conflicts. Second, it was challenging to get all district art educators together, I had to send out

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invitations twice and pressure them to participate. Lastly, the management of a budget to create low cost collaborative projects was another limitation found in during the research. Findings The goal of this Capstone project was to foster an artistic community by creating more community-based art opportunities in Mount Olive, New Jersey. For this purpose, I researched if people in Mount Olive were interested in more artistic opportunities and if so, what kind of programs. I also reviewed the role that schools and public agencies would play in collaborative and community-based art projects in the area. According to this research some of the reasons why Mount Olive does not have many community-based art programs or projects today are: first, the absence of leadership in the artistic area; second, the lack of time parents and children encounter when balancing work and other extracurricular activities, and understanding of the true benefits of art in the individual and the community. Finally, although schools play an important role in the development of more artistic projects in town, art is not a priority for administrators or teachers in those entities; but art is valued in public agencies such as the Mount Olive Public Library and the MORD. These entities are enthusiastic to participate and eager to create more opportunities for the arts in the area. Leadership Based on the interview with Jill Daggon, Supervisor at the MORD, there is a need for leadership in the arts in Mount Olive. It is not enough to have public agencies interested in revitalizing the arts in the area if there is not a committed individual, or group, with communitybased art endeavors. The challenge would be to find passionate people who would like to commit their time to the town and create, little by little, more community-based artistic projects. From

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my perspective, by creating small collaborative art projects––such as the one I put at the library– –people with the same interest will get to know each other and might foster communication, engagement, and finally support each other in the mission. Information Through the survey, people from Mount Olive demonstrated interest in developing artistic skills and community-based art projects. However, the hustle and bustle of today’s world, plus the many options children have in other afterschool activities, do not let parents focus on the value of art for the development of a child. In addition, the little attention that the visual arts receive from the public schools does not benefit the development of a community-based art program in Mount Olive today. In order to generate more artistic interests and opportunities for future generations, a detailed campaign to value art according to the community needs is basic to change things overtime. Participatory Interest A positive finding through this research was the willingness and interest from public agencies, such as the MORD and the Mount Olive Public library, to incorporate more collaborative and community-based art projects into their programming. The response to and participation of children and adults in my art project displayed at the library was an example of the interest of the community in trying fresh and new perspectives of art. Future art activities in Mount Olive might increase the community interest in artistic programming along with the support of these to appreciate entities in the area. Summary Based on these findings, people in Mount Olive are interested in more community-based artistic projects, especially small activities that do not compromise too much of their time. There

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are also people interested in learning more artistic skills as drawing, watercolor or photography. Unfortunately people from the public schools do not see visual art as a priority, but a couple of art educators showed some interest in having more artistic opportunities out of the school classroom. The role of public agencies, such as the Mount Olive Recreational Department and the Mount Olive Public Library, are key to determining peopleâ&#x20AC;&#x2122;s interest in pursuing more community-based art opportunities in our town. Understanding the assets and challenges in Mount Olive are necessary to foster an artistic community. By clarifying these outcomes, the path to generating possible art programs in town is one step closer to, someday, being a reality. The goal is first, to find the people who want to be engaged and involved in the art, to generate interest among parents by launching an educational campaign, and by supporting the interest of public agencies in the development of small collaborative community-based art projects. Conclusions and Recommendations This Capstone Project was created with the purpose of (a) understanding if individuals in Mount Olive, New Jersey, were interested in community-based art programs, (b) suggesting ideal community-based art projects, and (c) understanding the role of public agencies in the development of art programming in the area. Some scholars such as Chapman and Eisner in the literature review presented the crisis of art education as an opportunity for leaders to develop community-based artistic activities; moreover, other scholars shared the many benefits that the community and individuals gain through these artistic activities (Gude, 1989; Taylor, 2005; Bash, 2006; Clark & Zimmerman, 2000). The connectedness, trust, and belonging that those scholars discussed are what this Capstone Project aims to achieve for the Mount Olive community. This reaffirms that â&#x20AC;&#x153;Art events and activities can give people a feeling of belonging

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… and can reinforce an individual’s connection to the community by giving public expression to the value and traditions of that community and sustaining its cultural heritage” (Fromm, 1955; Lowe, 2000; Griffiths, 1993; Stern 2000 as cited in McCarthy et al., 2004, p. 14). Accordingly, the gathering of opinions from the MORD, public art educators, and parents in the community––through interviews, surveys and brainstorming–– was required to reach the final outcome. As a result, more artistic programming for the Mount Olive area can be achieved if they are supported by public entities, with the developing of more collaborative art projects. Discussion and Interpretation of Findings Knowing that people from public agencies are interested in developing more communitybased art projects, the opportunity to foster artistic programs seems to be a step forward to the near future. The involvement of these entities seems to be a good strategy to reach a good part of the Mount Olive population. In order to create leadership opportunities, small art activities, where people can participate, would be crucial to gather individuals with the same interest. Furthermore, taking school art outside of the classrooms, to the public view, and inviting teachers to collaborate with new ideas, is another answer that might have positive results for future young artists. Artists and students can actually participate at the annual Community Art Show that the MORD launched last summer. Together, these strategies should increase participatory interest on behalf of the community since they will have enough options to participate according to their schedule and interest. Finally, an education campaign is needed for the community to see art not only as an aesthetic outcome but also as a valuable skill for personal development and as an important resource for social and economic development.

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Significance, Implications, and Recommendations As a resident of Mount Olive and having taught art in an after-school art program for the past 6 years with the MORD, I believe that community-based art projects would be of great benefit for individuals and the community. There is definitely a gap that needs to be closed and there is a lot to do, but at least this research might be seen as a beginning of a new artistic chapter for the Mount Olive community. In 1992, Suzi Gablik wrote about the importance of connective aesthetics and future approaches for contemporary art that I absolutely loved. She stated, “Inviting in the other makes art more socially responsive. It is not activism in the sense of the old paradigm, but an empathic means of seeing through another’s eyes, of stretching our boundaries beyond the ego-self to create a wider view of the world” (p. 6). When thinking about opening “Play, Paint and Create,” seven years ago, I wondered whether I would be skilled enough to teach art to children, with so little experience as an art educator. Today, not only do I enjoy teaching my students, but I also receive big lessons from them, when they share their perspectives and ideas with me. I call this the “added value of teaching.” Currently, I am hesitant whether I should take the lead on the next chapter––educating my community-at-large. This decision would require a move from my comfort zone to a bigger challenge, but it can become a wonderful experience outside of the classroom––just as when I first started teaching. Having the support from the MORD and the Mount Olive Library, I might teach my students to give more of themselves through the arts and extend Gablik’s invitation to the practice of connective aesthetics. To summarize, my recommendations to foster an artistic community in Mount Olive will include: having community-based art activities, where people can experience accountability, connectedness, forms of satisfaction, and accomplishment through art; starting a crusade to teach

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people about the value of art as an important critical thinking skill, basic in the twenty-first century; and, finally, supporting the MORD and the Mount Olive Library with activities that help expand cultural awareness, perseverance, and confidence in the community through art. Conclusion In conclusion, trying to foster an artistic community in Mount Olive has been a journey full of learning and discoveries. Probably the most important takeaways for me are: the connectedness I experienced with my community and the possibilities that might come with my findings. Teaching art is not anymore about oneself, but about giving and the joy that comes with sharing. This Capstone Project made me grow as an artist, an art educator, and a member of my community. Definitely, the outcome makes me look forward for more community-based art ventures to share in Mount Olive.

References Bash, S. R. (2006). Thriving arts: Thriving small communities. Tracy, MN: Metropolitan Regional Art Council. Retrieved from http://www.mrac.org/resources/pdf/ThrivingArts.pdf Berry, N.W. (1998). A focus on art museum/school collaborations. Art Education, 51(2), 8-14. Chapman, L. (2005). Status of elementary art education: 1997–2044. Studies in Art Education, 46(2), 118–137. Clark, G., & Zimmerman, E. (2000). Greater understanding of the local community: A community-based art education program for rural schools. Art Education, 53(2), 33–39. Cohen, R. (2013). 10 Reasons to support the arts. Americans for the Arts. Retrieved from: http://www.partnershipmovement.org/news/p/10-reasons-to-support-the-arts-in-2013/ Eisner, E. (1965). Curriculum ideas in a time of crisis. Art Education, 18(7), 7–12. Eisner, E. (1978). What do children learn when they paint? Art Education, 6-10 Fredricks, J. A. (2011). Engagement in school and out-of-school contexts: A multidimensional view of engagement. Theory Into Practice, 50(4), 327–335. Freedman, K., Heijnen, E., Kallio-Tavin, M., Kárpáti, A., & Papp, L. (2013). Visual culture learning communities: How and what students come to know in informal art groups. Art Education, 54(2), 103–115. Gablik, S. (1992). Connective Aesthetics. American Art, 6(2) 2-7 Guetzkow, J. (2002). How the arts impact communities: An introduction to the literature on art impact studies. Center for Art and Cultural Policy Studies. Princeton, NJ. 1-22 Gude, O. (1989). An aesthetics of collaboration. Art Journal, 48(4), 321–323. Hannigan, S. M. (2012). Turning community stories into community art. International Journal of Education through Art, 8(2), 135–150.

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Hendershott, A. & Wright, S. (1993). Student focus group and curricular review. Teaching Sociology, 21(2), 154-159. Heuristic. (2013) In Businessâ&#x20AC;&#x2122; online dictionary. WebFinancial, Inc. Retrieved from http://www.businessdictionary.com/definition/community.html/ Kraus, R. G. (1985). Determining program goals, objectives and policies. Recreation program planning today. Glenview, IL: Scott, Foresman & Company. 129-130 Krensky, B. & Steffen, S. L. (2009). Engaging Classrooms and Communities through Art. Lanham, MD: Altamira Press, Krueger, R. A., & Morgan, D. L. (1993). When to use focus groups and why? Successful focus groups advancing the state of the art. Sage Focus Edition. Newbury Park, CA: Sage Publication, 156, 3-18. London, P. (2012). Infusing the arts into community-based learning environments. Advocacy White Papers for Art Education. Reston, VA: National Arts Education Association. Retrieved from http://www.arteducators.org/advocacy/NAEA_WhitePapers_4.pdf Lynch, G. H. (2013). The importance of art in child development. Education. PBS Parents. Retrieved from: http://www.pbs.org/parents/education/music-arts/the-importance-of-artin-child-development/#.Ui07bAh6O-s.facebook Maxwell, J.A. (2004). Methods: What will you actually do? In J. A. Maxwell, Qualitative Research Design: An Interactive Approach. Thousand Oaks, CA: Sage. 95-99. McCarthy, K. F., Ondaatje, E. H., Zakaras, L. & Brooks, A. (2004). Gifts of the Muse: Reframing the debate about the benefits of arts. Santa Monica, CA: Rand. 14-19. McMillan, D. W., & Chavis D. M. (1986). Sense of Community: A definition and theory. Journal of Community Psychology, 14, 6-23.

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Morgan, D. L. (1996). Focus groups. Annual Reviews of Sociology, 22(1), 129-152. Patton, M. (1990). Qualitative evaluation and research methods. Beverly Hills, CA: Sage. 169186 Pearse, H., & Soucy, D. (1987). Nineteenth-century origins of Saturday morning art classes for children in Halifax, Nova Scotia. Studies in Art Education, 28(3), 141–148. Rolling, J. H., Jr. (2013). Art as social response and responsibility: Reframing critical thinking as a basis for altruistic intent. Art Education, 66(2), 6–12. Stokrocki, M. (2006). Expanding the artwork of young, elementary students. Art Education, 39(4), 12-16. Strauss, V. (2013). Top 10 Skills children learn from the arts. Blog: The Answer Sheet. Washington Post. Retrieved from: http://www.washingtonpost.com/blogs/answersheet/wp/2013/01/22/top-10-skills-children-learn-from-the-arts/ Taylor, A. (2005). Measuring the creativity community. Arts Journal Blogs: The Artful Manager. Retrieved from: http://www.artsjournal.com/artfulmanager/main/measuring_the_creative_communi.php Ulbricht, J. (2005). What is community-base art education? Art Education, 58(2), 6–12. Washington, G. E. (2011). Community-base art education and performance: Pointing to a place called home. Art Education, 52(4), 263–277. Zander, M. J. (2007). Tell me a story: The power of narrative in the practice of teaching art. Art Education, 48(2), 189–203. Zimmerman, E. (2011). A case of integrating art into a variety of teaching and learning environments. Advocacy White Papers for Art Education. Reston, VA: National Arts

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Education Association. Retrieved from: http://www.arteducators.org/advocacy/NAEA_WhitePapers_4.pdf

Appendix A

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Appendix B

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Interview:

For how long has the Mt. Olive Recreational Department (MORD) been operating? How long have you worked for the MORD?

How many and what kind of art programs has the recreational department had in past years? Which ones do you think were most successful and way? Least successful?

How many and what kinds of art programs does the recreational department runs today? For whom? Children, adults, special populations?

Which venues and resources have you used for visual art classes?

Apart from classes, have there been any other community art activities? Exhibitions? Special events? Public art projects?

Do you know of any other public entity beside the recreational department that supports visual artistic activities in the Mt Olive Township?

What comes to your mind when you hear the term community-based art project? Do you think your organization could support this kind of activity? What resources would you need to make this happen?

Given your experience, aside from the classes you currently offer, what kind of art activities do you think might be of interest of the community?

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Appendix C

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Appendix D Survey Question Data Analysis and Results When was the last time that you or any of you family members were enrolled in a Mt. Olive enrichment program?

44%

Currently Last Winter Last Fall

Last Spring More than a year 0%

In what kind of enrichment programs did you or of your family members enroll? Mark all that apply. 25 20 15 10 5 0 Sport

Dance

Art

Music

Craft

Other

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Did you know that Mt. Olive recreation department has ART enrichment programs for children and adults?

40% 60%

Yes No

If you had the opportunity to choose art disciplines to learn about, which ones would you choose? Please chose up to three. 16 14 12 10 8 6 4 2 0

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What comes to mind when you hear community-based art project?

28%

32%

Public Projects Social Opportunities

Aesthetic Results

32%

N/A

How do you think our community might benefit from community-based art projects? 4% Economy

12%

24%

Aesthetics 28% 24%

Social Personal

Education N/A

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Would you or any of your family members participate in a community-based art project?

Yes No

92%

Why do you think art enrichment programs are important for children or adults? Complement Education 16%

Entertainment

24%

20%

8% 32%

Self Expression and Creativity Development Social Opportunities N/A

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Interviewee's Household Data 60 50 40 30 20 10 0 2-‐5 Years Old

6-‐10 Years Old

11-‐16 Years Old

17 or Older

Which race/ethnicity best describe your family? Please choose only one. 4% 4% 20%

American Indian/AN 16%

Asian Native Hawaiian White

56%

African American Hispanic Other

Appendix E

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Topics:

What resources would you like your students to have outside of school to enrich their study of art in your classroom? To help you in your teaching?

What are your thoughts about and experiences with community-based art centers?

How might the community benefit from school-community artistic endeavors?

Can you imagine participating in community art projects with your students? What role can you imagine the schools playing in community art projects?

Can you imagine your students utilizing a community-based art program? Or participating in communitybased art projects or community contest?

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List of Figures and Figure Captions

Figure 1. Infographics A & B. Fostering an artistic community: Mount Olive, NJ ...................... 19 Figure 2. Collaborative art piece created at the Mount Olive Community Art Show ................... 20 Figure 3. Sandy, Final collaborative art piece ............................................................................... 21 Figure 4. Collaborative art invitation to the community through the MORD Facebook page. ..... 25 Table 1. Data collection and analysis chart………………...……………………………………22

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Author Biography Ana C. Robles began her studies and interests in art and photography at the age of fourteen. During her school years, she participated and won a couple of national contests. She earned a BA in Graphic Design from Veritas University in Costa Rica in 1995. As a graphic designer, she had the opportunity to work for companies throughout Central America. Ana married and moved to New Jersey in 2001, and today the Garden State is her home. Since 2007 Ana has been volunteering in Paragon Village Nursing Home once a week, teaching art to the elderly. She also runs Play, Paint and Create, an afterschool art program for children ages 6-15 through the Recreational Department of Mount Olive Township. Last year, Ana followed her curiosities and enrolled in a Masters in Art Education program online with the University of Florida, with the aim of improving her teaching skills and views in contemporary art and artistic development. She enjoys sharing her passion for art with future generations.