Exercise 7: Cultural Ecology
REFLECTIVE NOTES
I prefer to consider how my peer support networks, artist engagement with the community, and opportunities in my own town/village could be useful.
Harker writes “In its dictionary definition, ‘ecology’ refers to a branch of biology that deals with ‘the relations of organisms to one another and to their physical surroundings’”. (p69) Later she asks about our understanding of ecology and if it helps us to analyse and acknowledge the different contributions of the links between all the actors in the field. She even considers if ‘ecology’ has not become a word for a ‘shadowy symbiosis’. I understand this as a critique of superficial understandings of ecological relationships. She suggests one look at genuine interaction – authentic engagement between artists and their environments.
Considering the community dynamics, I can react to the social dynamics and, to a lesser degree, to the needs and values of the community. I can identify key stakeholders (art galleries and artists) and influencers (Solo Studio yearly art week-end event, other ‘benefactors’) in the local art scene. However, I am not sure if community needs and values always intersect with artistic practices. I am mostly aware and involved in local networks and artist collectives where I have exhibited. I have started connecting with local artists on a one-on-one basis, regarding joining in on the local art classes with young children through my involvement with an NGO. Skills transfer and opportunities are sure to benefit and I have opened my own connections with more artists in the community.
In terms of my own practice, I would like to consider how my work engages with the local environment and community. I should also consider the impact I want my work to have on the community and the environment.
Research Task : Understanding Global contexts
As someone based in a small town like Riebeek West, South Africa, Harris points out that the global interconnectedness of the art world resonates strongly. This underscores the importance of understanding broader systemic forces, even while engaging in localized artistic practices. This awareness can help create more informed and strategic approaches to art-making and community engagement. Harris touches on the impact of globalization on the art world, noting the increased flow of artists, artworks, and ideas across borders. This has led to a more interconnected but also more competitive and uneven landscape. I found that when I lived in Dubai at the start of my studies, the landscape was difficult to interact with if you do not belong to a ‘art club’, which came at a high price tag.
I can comment on the role of the artist; I felt that Harris, despite the complex networks of production and distribution, argues that the figure of the artist remains central. The artist, whether as a lone creator or as a team director, is still viewed as the primary agent of artistic value and meaning.
In terms of further reading, I looked at Chapter 4: “Art Markets and the Contemporary Art System” Given the introductory emphasis on the relationship between art and capitalism, the chapter focus on art markets: it explores how economic forces shape artistic production, distribution, and consumption, offering a more detailed analysis of the market dynamics that Harris introduces in the first chapter.
By engaging with this chapter, one can develop a more nuanced understanding of the art world’s economic underpinnings. This understanding suggests that it is crucial for artists seeking to navigate and position themselves within this system. This knowledge can also inform strategies for engaging with art markets in ways that are both critically aware and economically viable.
I did find the next research task: Understanding your place in it all, more stimulating in terms of my own situation when visiting the Perez Art website (PAMM) and specifically the section called, Community Programs and how they do outreach to communities.
I looked at applying PAMM’s Strategies in Riebeek Valley
1. Educational Outreach
School Partnerships:
- Art Integration: Collaborate with local schools like Laerskool Riebeek Kasteel to integrate art into their curriculum. This can include organizing field trips to art exhibitions, conducting workshops in schools, and involving students in community art projects. Through our RASA project, we have taken our kids on an art gallery visit in Cape Town and did a dance workshop with the aid of a dance group from the city that does outreach programmes.
- Teacher Training: Opportunities to support teachers in incorporating art into various subjects, enhancing their ability to deliver arts education. Our school curriculum do not place high value on art education.
Youth Programs:
- After-School Art Clubs: Establish after-school art clubs where students can explore different art forms and techniques. We have the RASA Art Class and the Riebeek West Primary School, where the kids engage weekly with facilitators and invited local or visiting artists (residency)
- Youth Art Exhibitions: We host exhibitions showcasing the artwork of young artists in the community, giving them a platform to display their creativity. Community programs exhibit during our main art event, Solo Studios. There is also a gallery that promotes youth work, and the exhibit is always accessible.
2. Public Programs
Community art does not really exist. Opportunities are for workshops, art activities. Here I know of two NGO’s that have art as a public program. I am involved with the RASA art project. I would think that the yearly SOLO studio event with local artists and live performances could be more engaging with all ages.
Community Events:
- Art Festivals: Plan annual or bi-annual art festivals featuring local artists, live performances, and hands-on activities for all ages. The owners of the SOLO studios event are planning more events.
- Cultural Celebrations: Incorporate art into local cultural celebrations, highlighting the artistic traditions of different cultural groups in the community. This is a huge point of development, as I do not know of any such undertakings in the last two years, since I have lived here.
Collaborations with Local Organizations:
- Partnerships: Partner with local non-profits, cultural organizations, and community groups to co-host events and programs, leveraging their networks and resources to reach a wider audience. I can create a list. It could also be of value that this becomes part of the social calender of the village – tourism group can be of value.
4. Artist Residencies
RASA offers residencies where the artists are encouraged to at least engage with the community.