Exploring the Uses of Arts-Led Community Spaces to Build Resilience: Applied Storytelling for Successful Co-Creative Work
Exploring the Uses of Arts-Led Community Spaces to Build Resilience: Applied Storytelling for Successful Co-Creative Work
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探索以艺术为主导的社区空间来增强韧性：运用讲故事来成功开展共同创意工作
DOI：
10.1142/s2345737622500075
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发表时间：
2023
期刊：
影响因子：
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通讯作者：
Liguori A
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作者：
Liguori A
在气候、流行病、孤立等多种极端情况并存的时代，社区联系具有很强的力量，可以通过艺术产生的联系提供复原力。在遭受极端事件和社会孤立的社区中，以艺术为主导的复原方法提供了将应用讲故事作为个人和社会实践的能力，并为社会变革作出创造性贡献。本文将探讨在多大程度上，通过将人们聚集在一起，艺术可以创造开放的空间，有利于真正的对话和参与，并在更广泛的应用中发展弹性。Monkivitch （Creative Recovery Network的首席执行官）谈到了倾听声音的生态，倡导将艺术家的声音作为政府从极端事件中恢复的核心。关注共同创作系统或生态的目的是探索超越学科界限，并为参与策展的艺术家和社区阐明社会目的。在极端事件背景下，创造性的艺术过程提供了与社区的参与和授权，以发展和维持弹性和适应性。在本文中，一个由艺术家和学者组成的团队将在社区参与、应用故事讲述、社会参与艺术和水风险管理方面拥有专业知识，他们将反思共同创造艺术主导的社区空间的各种方法。本文描述了两个案例研究，以探索创造性艺术家和他们的社区之间的合作和共同生产，作为发展情感弹性的参与性过程。英国的案例研究“沼泽地的原因”将社区的不同成员聚集在一起，发展和分享个人故事，并与一位词曲作者合作，创作了一首关于他们地区洪水干旱关系影响的社区歌曲，从而发展了对不同观点的同情。澳大利亚的案例研究是维多利亚州的数字区域艺术公园，它使用创造性的生态系统设计来实现联合策展，这种设计与讲故事的弹性密切相关。这两个案例研究都提供了机会，让我们思考创意生态系统如何为探索文化部门在空间/场所弹性建设中的破坏性作用提供了一个框架。正如本文所描述的那样，创意生态系统的持续目的实际上是加强创意组织和个人，这将发展一个涉及众多人员，机构和场所的复杂系统。要想蓬勃发展，他们需要获得一系列相互关联的资源和能力”（Creative Victoria, 2016）。《创意国度2016-2020》，第19页。https://creative.vic.gov.au/_data/assets/pdf_file/0007/54349/creativestate.pdf)。这个生态系统的文化、创意、社会和商业部分需要有意义的互动。这种创造性的生态系统可能导致文化价值和故事之间充满活力或创造性的相互作用的动态模式。哈特利和波茨（2014）。文化科学：故事、主题、知识和创新的自然史。伦敦：布鲁姆斯伯里出版社，第70页)指出，“文化是群体的‘生存工具’，而故事是文化的生存工具”。
In a time of many extremes — climate, pandemic, isolation — there is strength in community linkages that can provide resilience through arts-generated connections. The arts-led recovery approach to communities suffering extreme events and social isolation offers the capacity to use applied storytelling as both individual and social practice, and to generate creative contributions to social change. This paper will explore the extent to which, in bringing people together, the arts can create spaces that are open and conducive to real dialogue and engagement, developing resilience with wider applications. Monkivitch (EO of Creative Recovery Network) talks of listening to the ecology of voices, advocating for the voice of the artist to be central to government recoveries from extreme events. The intent of looking at co-creative systems or ecologies is to explore beyond disciplinary boundaries and articulate a social purpose both for the artists and the community involved in the curation. The creative arts process, in extreme events contexts, offers engagement with and empowerment of the community to develop and sustain resilience and adaptability. In this paper, a team of artists and academics with expertise in community participation, applied storytelling, socially-engaged arts and water risk management, will reflect on a variety of approaches to co-create arts-led community spaces. Two case studies are described to explore collaboration and co-production between creative artists and their communities as a participatory process to develop emotional resilience. The UK-based case study, ‘The Reasons in the Fens’, brought together diverse members of the community to develop and share personal stories and to work with a songwriter to compose a community song about the impact of the flood drought nexus in their region leading to developed empathy for diversities of views. The Australian case-study, the digital Regional Arts Park in Victoria, enabled co-curation using a creative ecosystem design which related strongly to storytelling for resilience. Both case studies offer opportunities to reflect on how a creative ecosystem provides a framework for exploring the disruptive role of the cultural sector in space/place resilience-building. The ongoing purpose of a creative ecosystem, as described in this paper, is in fact to strengthen creative organizations and individuals, which will develop a complex system ‘involving a multitude of people, institutions and places. To flourish, they require access to a suite of interconnected resources and capabilities’ (Creative Victoria (2016). Creative State 2016–2020, p. 19. https://creative.vic.gov.au/_data/assets/pdf_file/0007/54349/creativestate.pdf). The requirement is for the cultural, creative, social and commercial parts of this ecosystem to have meaningful interactions. This creative ecosystem potentially leads to a dynamic model with a vibrant or creative interplay between cultural values and stories. As Hartley and Potts (2014).Cultural Science: The Natural History of Stories, Demes, Knowledge and Innovation. London: Bloomsbury, p. 70) indicate, ‘culture is the “survival vehicle” for groups (and) stories are the survival vehicle for culture’.