Tag Archive | arts

Continuum of Impact: Action Part 2

In our next Action video, we focus on the work of FORCE: Upsetting Rape Culture. Hannah Brancato describes how FORCE has used large media campaigns to draw in large audiences and get them engaged on the topic of rape culture. By using very public and internet based media they have been able to motivate many more people to participate in fighting rape culture then using other methods may have allowed.

To view the complete interview with FORCE: Upsetting Rape Culture: Click Here Part 1 | Part 2

To view the rest of the Continuum of Impact videos please visit the Baltimore Art + Justice Project YouTube channel

Don’t miss our last video next week……. Policies!

The Continuum of Impact Video Series is based on the Continuum of Impact created by Animating Democracy, the videos each highlight specific ways that social justice and art collaboration create an impact.

Continuum of Impact: Capacity

Capacity involves the efforts to build strategies for organizing along with raising the status marginalized and disenfranchised communities. Our Capacity video features the Youth Resiliency Institute who provide cultural arts programming and training to youth and their families in Baltimore City. Navasha Daya and Fanon Hill describe the organizations’ methods of using multiple forms of art from dance to poetry to provide an outlet for agency building. Using the creative skills developed through YRI, youth have become become engaged politically, culturally, and locally engaged.

To view the complete interview with Youth Resiliency Institute: Click Here Part 1 | Part 2

To view the rest of the Continuum of Impact videos please visit the Baltimore Art + Justice Project YouTube channel.

Coming up next week……. Action Part 2!

The Continuum of Impact Video Series is based on the Continuum of Impact created by Animating Democracy, the videos each highlight specific ways that social justice and art collaboration create an impact.

Continuum of Impact: Attitudes

Changing the way people feel about an issue is a difficult task to undertake but art can be a helpful medium to do so. Using art, organizers and activists can generate feelings of hope, pride, and respect in both those who engage  in the creation of art and those who view or experience it. Our Attitudes video highlights the work of DewMore Baltimore and 901 Arts who use art to change people’s thought’s and attitudes towards specific issues. Devlon Waddell from DewMore Baltimore describes how they use literary arts to encourage individuals to explore their understanding of themselves to then develop a stronger connection with their community.

To view the complete interview with DewMore Baltimore: Click Here

To view the complete interview with 901 Arts: Click Here

To view the rest of the Continuum of Impact videos please visit the Baltimore Art + Justice Project YouTube channel.

Stay tuned next week for……. Capacity!

The Continuum of Impact Video Series is based on the Continuum of Impact created by Animating Democracy, the videos each highlight specific ways that social justice and art collaboration create an impact.

Continuum of Impact: Discourse

Through art we are able to create safe, affirming, comfortable, or even humorous spaces that allow many to engage in dialogues that couldn’t have happened elsewhere. Our Discourse video highlights the work of Hollaback! Baltimore and Theater Action Group who use art to open up and continue conversations. Shawna from Hollaback! Baltimore describes how individuals who have experienced street harassment have chalked the areas where they have been harassed; creating not only conversations about harassment but empowering experiences of reclaiming spaces. Theater is described by the Theater Action Group as a place where individuals can come together to play, engage, and create a temporary community that engages in dialogue which leads to further social change.

To view the complete interview with Hollaback! Baltimore: Click Here

To view the complete interview with Theater Action Group: Click Part One | Part Two

 To view the rest of the Continuum of Impact videos please visit the Baltimore Art + Justice Project YouTube channel.

Stay tuned next week for……. Attitudes!

The Continuum of Impact Video Series is based on the Continuum of Impact created by Animating Democracy, the videos each highlight specific ways that social justice and art collaboration create an impact.

Continuum of Impact: Action

The anticipation can finally end as the Baltimore Art + Justice Project’s Continuum of Impact video series is complete and online! The series highlights the phenomenal work being done by Baltimore organizations and groups that are using art as a tool for social change. Based on the Continuum of Impact created by Animating Democracy, the videos each highlight specific ways that social justice and art collaboration create an impact.

Action, the first video in the series focuses on increasing participation. Art can be a powerful tool to get people involved and mobilized in their communities. Our Action video highlights the work of 901 Arts. 901 Arts is a community based youth arts organization in the Better Waverly neighborhood of Baltimore that provides opportunities for the children and youth in the community to express their artistic sides and develop as artists.

To view the complete interview with 901 Arts and the rest of the Continuum of Impact videos please visit the Baltimore Art + Justice Project YouTube page

Continuum of Impact Video Series and BA+JP Kiosk

Exciting things are happening with the Baltimore Art + Justice Project! This summer we interviewed different Baltimore based groups for our Continuum of Impact Video Series. The Continuum of Impact was created by Animating Democracy and our video series is inspired by their awesome investigation into what works in art and social justice based practice.

The Continuum of Impact of Video Series Trailer is here and gives a glimpse of the great work people are doing in Baltimore.

Stay tuned for the full videos coming soon!

Baltimore Art+Justice Project Kiosk!

The Baltimore Art + Justice Project has a new registration kiosk! The kiosk will be moving across MICA’s campus throughout the month of November. The kiosk is currently located in the lobby of MICA’s Fox Building and will be moving to the Bunting Building the week of November 18th.

If your organization is interested in hosting the BA+JP registration kiosk let us know!

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Move This World 4th Global Summit

Looking for a way to get moving and develop strategies for social change this weekend? The Move This World 4th Global Summit is taking place is Baltimore this weekend on Saturday, September 21st through Sunday, September 22nd. The Summit brings together activists, artists, students and educators to learn Move this World’s evidence-based curriculum using creative movements to spark social change.  Those in attendance will collaborate in a variety of activities led by MTW’s PeaceMover Facilitators and global staff, engage in group dialogues, self-reflection, and direct action planning.

Move this World uses creative movement to inspire empathy, viewing movement as an embodiment of cultural knowledge. Through creative movement sessions attendees will practice active listening, conflict resolution, civic engagement, appreciating differences, and social awareness. The skills offered by the Move this World summit are both personal and political, providing techniques toward creating larger social change, as well as help for you while traveling that often stressful road.

For more information on the Move the World summit, email MTW’s Program Coordinator and Global Summit aficionado, Alejandra Paucar at apaucar@movethisworld.org

To register for the summit visit: http://movethisworld4thglobalsummit.eventbrite.com/

Saturday, Sept. 21st-Sunday, Sept. 22nd

National Academy Foundation School of Baltimore
601 N. Central Avenue
Baltimore, MD 21201

Guest Blogger: Peter Bruun

Is it art?

Is it art?

Using art to advocate creatively is rich with potential, and riddled with challenges. Not least among these is grappling with what we mean by “art”; regardless of how one may feel about feminism, globalism, or multiculturalism, there is no avoiding these phenomena have contributed to eviscerating shared understandings of art as a concept.

I believe the notion of art is itself a construct; a cultural invention to imply certain shared understandings on value, meaning, and status. Objects of any kind are never inherently art or not, but rather objects are understood to be art because we make decisions to anoint them as such. Art is (indeed) in the eye of the beholder.

For me, a key criterion on whether or not something ought to be thought of as art is its standing as an emblem of cultural or personal identity: if notions, qualities, and/or meanings of identity are embodied or conveyed or elucidated for the attentive observer by an object, that object most likely qualifies as art (at least to my eyes).

I accept that something may be art for me but not for someone else. In this regard, I stand in agreement with Arthur C. Danto, who wrote about art as an object plus a context—the context being to my mind the subjective perspective of a viewer.

Given an “art” world of ambiguity and uncertainty, I believe using art to advocate creatively begins with persuading others that what you put in front of them is not only art, but also art worth paying attention to. My presumption here is art carries an aura of authority and authenticity, so if a targeted audience can be convinced on the art-hood of what they perceive, then one is well on the way to achieving advocacy goals.

I have been involved in numerous art projects intended to challenge predominant (and predominantly negative) stereotypes of one social group or another. In project after project, engaging artists and non-artist community members alike, we sought to build and promote inventories of positive identity image.

These art projects have been nothing less than campaigns to change perceptions, only often with divergent value systems in tension with one another: one privileged a more esoteric and elite attitude toward art (i.e. art is the domain of practiced experts), while the other favors a more democratic, vernacular notion on art and imagery (i.e. art works by the unpracticed ought to be considered on equal footing with that of well-established artists).

The solution these projects sought to strike became not so much “this” or “that” kind of art to emphasize but rather “this” and “that”—project leaders spent time cultivating the involvement of well-established artists and including traditionally art-centric exhibitions and events, and also organizing widespread community participation via art workshops and partnerships with non-art, social-minded organizations.

The range of activities was inevitably rich—but at times divided. That is, from time to time, works by the art folks appealed to the art folks, and works by the community folks appealed to the community folks, with little bridging betwixt the two. In such instances, projects fell short of intended goals because the “art” successfully spoke only to the already converted, perhaps fortifying attitudes but carrying little sway in changing them.

Ironically, this proves true most often not with community-made art, but rather with the art made by so-called professionals—art by highly practiced artists frequently does not appear relevant to non-art-centric audiences. In such instances, there is a gap—and need for translation—between art that subtly expressed meaningful content, and a lay audience ill-equipped to find merit on their own.

Such art’s worth is too often thought to be implicit, leaving the art-centrically inclined feeling little need to put energy into convincing the public that their art matters. The art’s efficacy as an advocacy tool is then limited.

(A similar shortcoming could be said to be true for the efforts around the community-made art: if it fails to speak to the art-centric, whose notions on “quality” often inhibit accepting such work’s “art” status, then it too suffers from diminished efficacy.)

I suspect one’s biases on what art matters always informs assumptions about audience response: if one is convinced of the inherent value of the art one favors, one does not take pains to render that value transparent to others. Put plainly, art neither persuasively explained nor adequately presented leaves it under-appreciated as art among those it could have reached, and therefore less effective as creative advocacy than ought to have been the case.

Advocating creatively sounds good, but to do it well is hard and humbling work, demanding of practitioners a combination of self-confidence and reserve, diffidence and insistence, and attention to what speaks to those around you as well as those you want to reach with your message.

Peter Bruun

Guest Blogger: Devlon Waddell Credentialization: A Social Construct

I am Devlon E Waddell; author of three published works (and contributor to others), publisher of a dozen, founder of an organization that has sent youth across the country and shifted the operating budget of a high school by well over a million dollars, developer and implementer of high school creative writing curriculum, founding member of a BCPS middle/high school, public speaker, mentor, coach, husband, father and the grinch that stole poetry…

What does this mean, toward the end of Social Justice? Absolutely nothing. In the realm of employment, a resume offers key indicators as to skill, will and fit, in terms of performing a specific task. Beyond a practical application of a certain skill-set, past experience serves only as a historical context for the work that lies ahead. However, with issues of equity, we are faced with “the fierce urgency of now”. There is no room for the revisiting of days gone by. And, by virtue of our humanity, we are all equal contributors in the building of a larger community.  It is with that in mind that I choose to engage. I find no hierarchy in interpersonal relationships. Regardless of credentials, we are equal; in voice, contribution and authority. The manifestation of such principles is simple. How is it done? At your next convening:

1. Don’t ask the folk you meet about their organizational affiliation. It doesn’t matter.

2. Do genuinely ask the folk you meet about their day. You may learn something meaningful.

3. Don’t present your agenda as if it is everyone’s top priority. It isn’t.

4. Do listen intently AND respond appropriately. Validation of voice does matter.

This notion of inherent authority beyond that which comes along with experience is laughable. Even as ‘do-gooders’ we cannot seem to escape such divisive constructs.

Profile of the Week: Make Studio

Make Studio works to create an inclusive, supportive space for adults with disabilities to explore their artistic talents and create their own work. The artists that attend Make Studio’s programming are able to experiment with diverse techniques and mediums alongside the studio’s staff. Additionally Make Studio’s artists are able to earn income through the sale of their art via Make Studio’s online shop where the artists receive 70% of the price of their sold work. Make Studio is striving for their artists to receive recognition for their art and talent by not only promoting the sale of their work but creating exhibit opportunities for their artists to share their creative works with the public. Through their exhibitions artists are able to not only display their talent but can help destigmatize how our society views individuals with disabilities.

Make Studio has a new exhibit coming up entitled Take A Look: Mine Ours Yours. The exhibit will run from September 9th-October 17th, 2013 at The Julio Fine Arts Gallery in the College Center of Loyola University, 4501 North Charles St. An Artists Talk and Reception will be held on Thursday September 12th from 5pm-7pm. For more information on the Exhibit and the featured artists, view the event flyer

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**If you would like to be featured as our Profile of the Week, go to artplusjustice.org and put yourself on the map!**

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