Profiles of Applied Arts-Based Programs

Hello again! For this posting, we have decided to provide mini profiles of some organizations that we think provide an interesting approach to arts-based work and community psychology.

dance4life

“We are a growing, worldwide movement, led by nearly half a million young people. Through education, we are challenging stigma and taboo, and young people are learning how they can protect themselves and those around them.”

            Working in 27 different countries with national non-profit organizations, dance4life has created a school based program for youth to explore issues of sexual health, sexuality, and HIV/AIDS. This movement, as it is referred to, facilitates sexual health education with youth in school systems while using a 4-step model. These steps include: INSPIRE, EDUCATE, ACTION, CELEBRATE. Step one: A dance4life team travels to different schools to use music and dance to inspire young people to get involved in the fight against HIV/AIDS while providing opportunities for open communication about HIV and related topics. Step two: The dance4life team facilitates workshops and discussions about leadership, decision making, reproductive rights, and healthy sexuality. Step three: Youth involved in the dance4life movement begin to take action. This may take various forms such as using the skills they developed in the workshop, sharing their knowledge with those in their communities, or making change in their communities. Step four: Every two years a celebration on World AIDS Day is planned for those youth who took action (agents4change).   

http://www.dance4life.com/en/organisation/dance4life!/

The Possibility Project

“A society where teenagers are valued, respected and play a leading role in creating a better world.”

            The Possibility Project merges performance art with community action to “empower teenagers to create safe, peaceful, and productive lives and communities.” Throughout an entire year youth throughout New York City meet to engage in “issue-oriented discussions,” exploring diversity, activism, and leadership. Throughout the program youth are also trained on play writing and other skills related to performance art. Together, the youth write a musical that addresses social issues that they face in their lived realities while also creating a community action project. The Possibility Project has four core values that influence their approach to community based work: cross-cultural understanding, youth leadership, integrity, and excellence.

http://the-possibility-project.org/

The Center for Urban Pedagogy

“We believe that increasing understanding of how these systems work is the first step to better and more diverse community participation.”

            The Center for Urban Pedagogy (CUP) aims to improve civic engagement through the use of art. Projects pursued by CUP cover a range of social issues such as juvenile justice, urban planning, immigration, and many others. These collaborative projects involve artists, community-based workers, and the staff at CUP. The goal of the projects is to increase diversity in community participation and civic engagement by breaking big system concepts down into a language and state where community members are better equipped to become involved, fight for change in their communities, and shape policies that impact their lives.

http://welcometocup.org/

Crossroads Institute for Arts, Learning and Community

”To spread knowledge and build capacity regarding the use of the creative arts for learning and social change”

            The Crossroads Institute is a team of researchers, artists, educators and youth leaders that works with children, youth and adults across the U.S. to develop and disseminate community-based arts practices. They have developed creative publications and seminars that are available to other artists, educators and communities interested in promoting social change. They also provide free access to their online library which includes best practices from community-based arts programs. This organization has taken a collaborative approach by partnering with local and national community-based organizations and universities.

http://xroadsinstitute.org/

ArtsCorps Detroit

“In partnership with community agencies, non-profit organizations and neighborhood groups, ArtsCorps Detroit identifies creative arts-related projects”

            ArtsCorps Detroit is a community-based program at Wayne State University. This program offers service learning opportunities for students and community members to help revitalize the greater Detroit community through the arts. For example, LOTS of Art! is a project which involves working closely with neighborhood groups to find creative ways, such as painted  murals or dance platforms, to address abandoned spaces in the city. This program also has a research component that addresses the effectiveness of arts in promoting personal growth and organizational/community change.

http://artscorpsdetroit.wayne.edu/about.php

The Kresege Foundation

“We seek to foster the power of arts and culture to recharge and rebuild communities of all sizes throughout the United States”

The Kresege Foundation is a great organization for community psychologists who are interested in funding arts-based projects focused on social change. One of their program areas is Arts & Culture. Within this program, there is an Arts and Community Building focus area.  Overall, this foundation is interested in funding organization projects dedicated to integrating the arts and community building activities. In addition, they commission and publish research on efforts to integrate cultural organizations into community building efforts; and evaluating activities for their community arts mini-grant initiatives for grassroots arts and cultural projects that address pressing social issues.

http://www.kresge.org/programs/arts-culture

Arts-Based Approaches: A “Snapshot” of our Work!

Prior to entering into Wichita State’s Community Psychology program, I, Kyrah, was heavily involved in grassroots-level work in my home community. I was involved with organizing a youth group as a means to promote positive youth development by ‘stirring up their gifts’. The youth in our community are at particular risk for gang involvement, teen pregnancy and overall idleness. So, this service-oriented, youth-led group provided a way for youth to develop their talents and to become active participants in community affairs. Many of our activities involved using the arts as a tool for individual and community level change. For example, we’ve been fighting for years with the city to have a community center built. We rallied at council meetings, and many youth expressed their concerns by reading poems (about their personal experiences and their community) to council members in an effort to convey how important this decision would be for them. In addition, while our community is affected by crime and blight, it was important for the youth to showcase themselves as community strengths. So, whenever we organized community rallies there was always an element in the program that involved youth showcasing their talents (e.g. singing, interpretive dance, poetry) with a particular message (e.g., neighbor relationships, anti-violence). In terms of practice, this work was focused on helping youth understand that they could use their talents/gifts in the arts to make changes in their community.

 Of course at this time I had no idea that this was called ‘community psychology’ or an arts-based approach. In college, I learned that the two could be merged and could be counted as research! Since then, I’ve tried to think about ways that arts-based approaches can be integrated into projects that I work on. For instance, our research team is a part of a university-community partnership which has implemented a project to support predominately African American middle school-aged children who are at risk for disproportionate health outcomes, contact with the juvenile justice system and academic failure. We hold a summer college enrichment camp to expose our youth to the six program areas and to build on their understanding of academic success and college. Last summer, I suggested that we include a poetry workshop into the program. So the team worked with the students to develop ‘I Am’ poems, which is a poem form used to describe one’s characteristics, beliefs, desires and ambitions. The youth then performed their poems for their senior citizens at a local senior center. We were able to use poetry as an educational tool to practice writing (e.g., nouns, verbs, imagery, etc.) as well as to promote self-reflection and creative thinking.  This is important because many of our students struggle in reading and writing. So if we can make it fun, we may be able to plant a seed for further academic development. We plan to do another poetry workshop this summer. This time I hope to be able to measure some of their attitudes about the experience to understand in what ways it helped them.

My experience with art-based approaches has been mostly in the form of community psychology practice. In the future, I hope to be able to incorporate these approaches into my own research. While I am very interested in how arts-based approaches can promote positive youth development, my primary research focus is women’s health- particularly maternal and child health (i.e., infant mortality). I would like to look into arts-based approaches that help understand the prenatal experiences of women of color. I would be very interested in hearing about any work that anyone is doing in this area. I am quite passionate about understanding the ‘stories’ of underrepresented populations in addition to highlighting the strengths that they possess through arts-based methods.

I, Katherine, have just begun my journey into arts-based methods. Currently, I am working on a Photovoice project with survivors of sexual violence within a college campus setting, and I have begun developing an international project with an organization that uses music and dance to educate and empower youth around issues of sexuality and sexual health. This second project will also extend beyond music and dance, and will incorporate video journaling, performance ethnography, and the Photovoice methodology (Wang & Burris, 1997).

For this posting I will primarily focus on the Photovoice project with survivors of sexual violence as the other project is still in the planning stages.

I have learned an incredible amount from the research participants in this project; far more than I ever expected to learn from a Master’s thesis in fact. For those of you who may not be familiar with Photovoice I will give a very brief overview of the process. The process begins as most all research projects do: with a theme and research questions. Framing questions are then developed from the research questions, and are stated as simple, brief questions similar to the research questions. For the current project two framing questions were originally developed: What is most helpful to someone after they have experienced assault? What should the campus community offer survivors like you? Participants responded to these questions by taking a photograph and writing a short narrative about each photo. The group held multiple meetings during which the photos and narratives were discussed more in-depth.

Currently the project is in the participatory data analysis stage, during which the participants decide what themes are most important across their photos and narratives. There have already been very rich recommendations made by the participants for how the campus community response may be improved to better reflect the diversity of survivors on campus. The next and final part of the project involves compiling the photos and narratives into a sustainable community outreach tool. For this project we are planning to explore the use of digital stories to use throughout the campus community to share what was learned and to make recommendations on how to better reach out to the diversity of survivors on campus.

Many ethical issues were explored throughout the development and beginning stages of the project. However, while there were many barriers to developing a Photovoice project with survivors of sexual violence, I am very happy to have barreled through them and pursued this opportunity. To begin, the process of confidentiality has been interesting. Participants have expressed pride in their voice and participation, and tentatively plan to attend the events at which the digital story is shown. Secondly, the framing questions were developed in order to try and prevent the participants from having to relive their violent experiences. However, participants have used the framing questions as an opportunity to re-evaluate their experiences to some extent. Additionally, a great deal of time was spent deciding whether or not the project should recruit male survivors. Some perspectives suggested this could be problematic considering how it may have influenced the project participants (who are all women); however, when I posed this question to the participants it seemed as though they would have enjoyed learning more about the male survivor perspective. This, of course, was said to be dependent on where the survivor was at in their own healing process.

As can be seen from the brief overview of our work, we have used different forms of arts-based methods, but believe in the unique influence these approaches have on the research process. That influence, is voice and story. These methods have created beautiful opportunities for participants to share their stories in a communicative way that may capture their voice better than an interview protocol or a focus group transcription. Furthermore, participants have an opportunity to use an active voice through poetry readings, taking pictures, and writing narratives. Such active opportunities are usually left out of traditional research dissemination processes.

**This post was written by Katherine Cloutier from Michigan State University, and Kyrah Brown from Wichita State University.

References

Wang, C., & Burris, M. A. (1997). Photovoice: Concept, methodology, and use for participatory needs assessment. Health Education & Behavior, 24(3), 369-387. doi: 10.1177/109019819702400309

Arts-Based Methods and their Value to Community Psychology

 Hello again! As you may remember from our last posting we (Katherine and Kyrah) are doing a posting series on arts-based research (ABR) approaches to community-based participatory research (CBPR). In this post we highlight some arts-based approaches to CBPR, as well as, the potential for these methods.

        ABR approaches incorporate music, dance, photography, visual art, and theatre into the research process through data collection, analysis, or dissemination (Leavy, 2009). Incorporating such methods into a CBPR framework creates a unique research agenda. Such an agenda reflects feminist values (using art to understand a person’s perspective or viewpoint), promotes a non-hierarchical structure to the research process (co-creating art to be used as data that will directly influence social structures or policies), challenges the status quo of conventional research paradigms, and allows for a unique approach to understanding community context through culturally relevant channels of communication (Haraway, 2001; Harding, 1987; Leavy, 2009; Rappaport, 2005; Wallerstein & Duran, 2003). As is the case with a great deal of community psychology work, there is also an explicit focus on social justice (Rappaport, 2005).

       Photovoice is one arts-based participatory research method. This approach was introduced by Wang and Burris (1994) to understand women’s health issues in rural China. Photovoice projects are almost entirely participant driven from developing the research questions, analyzing data, to disseminating what was learned. Data collection for Photovoice projects begins by presenting participants with simple, concise questions, called framing questions (these reflect the project theme). Participants then go through multiple rounds of taking photographs and writing  narratives for each framing question. These are discussed during in-person meetings. Participants also help to qualitatively analyze the data prior to putting together a public outreach tool (Wang, 1999). These tend to take the shape of photography exhibits or digital stories. Either option presents the photos, narratives, and themes that emerged throughout the project. This culmination is particularly emancipatory as the audience (which is decided on by the participants) tends to be community leaders who can learn from the participants’ voices and implement policies and regulations according to the perspectives of those whose viewpoints are often unheard.

       Ethnodrama, ethnotheater, and performance ethnography are other approaches to arts-based participatory research (Leavy, 2009). These approaches are sometimes viewed as distinct, but in general refer to the process of analyzing, translating, and disseminating research through dramatic performance (Leavy, 2009). Research may be previously collected through interviews, focus groups, field notes, or other conventional methods and writing a script based on research findings may also allow the research to make composite sketches about specific themes found throughout the data (Leavy, 2009). Performance ethnography also creates a unique opportunity for the researcher to recognize/assert their role. As suggested by many feminist scholars, deciding the researchers’ role in the performance and how their role interacts with the script or other performers establishes reflexivity as an integral part of the research process (Leavy, 2009).

        Overall, arts-based scholars have explored methods related to narrative analysis, poetry, music, performance, dance/movement, and visual arts (Leavy, 2009). These approaches may be bridged together (for example using music and performance as one), or supplemented by conventional research methods.

       We believe that there is a special place for ABR in community psychology.  We want to note that arts-based research is not new; and that it is a set of practices that have been used for years to capture the experience of individuals and communities.  It has been gaining popularity as a form of qualitative research among psychologists. Because arts-based methods are action oriented and participatory in nature, many psychologists have found it useful for engaging individuals and groups in the process of addressing the needs and strengths of the community. It creates an opportunity for researchers and practitioners to use diverse, creative strategies for conducting and evaluating research. It is no doubt that community psychologists understand the importance of social context, and arts-based practices can be a powerful tool used to identify and analyze the contexts in which people live.  It is a tool that can be crafted by community and used as a sustainable catalyst for change.

         While there are challenges to using arts-based approaches (e.g., community buy-in; time-consuming), the benefits of such work can be far-reaching. It is common for researchers to use arts-based methods (e.g., photovoice) to supplement the overarching research agenda. Consider a project that involves addressing gang violence among adolescents. There are important methods (i.e., surveys, neighborhood data) used to assess the context and the needs of a community. However, imagine that teens are actively involved in photographing and writing narratives about their community. Imagine the youth presenting their findings to key stakeholders and suggesting what to do about gang violence. The point is that arts-based methods can be a viable tool for citizen participation, using and building on community strengths, empowerment, and sustainable change.  In essence, community psychology research and practice can benefit from arts-based approaches.

**This post was written by Katherine Cloutier from Michigan State University, and Kyrah Brown from Wichita State University.

References

Haraway, D. (2001). Situated knowledges: The science question in feminism and the privilege of partial perspective. In M. Lederman & I. Bartsch (Eds.), The gender and science reader (pp. 169-188). London: Routledge.

Harding, S. (1987). Introduction: Is there a feminist method? In S. Harding (Ed.), Feminism and methodology: Social science issues (pp. 1-14). Bloomington: Indiana University Press.

Leavy, P. (2009). Method meets art: Arts-based research practice. New York: The Guilford Press.

Rappaport, J. (2005). Community psychology is (thank God) more than science. American Journal of Community Psychology, 35(3/4), 231-238. doi: 10.1007/s10464-005-3402-6

Wallerstein, N., & Duran, B. (2003). The conceptual, historical, and practice roots of community based participatory research and related participatory traditions. In M. Minkler & N. Wallerstein (Eds.), Community-based participatory research for health (pp. 27-52). San Francisco: Jossey-Bass.

Wang, C. C. (1999). Photovoice: A participatory action research strategy applied to women's health. Journal of Women's Health, 8(2), 185-192.

Wang, C., & Burris, M. A. (1994). Empowerment through photo novella: Portraits of participation. Health Education & Behavior, 21(2), 171-186. doi: 10.1177/109019819402100204

Arts-Based Approaches and their Contribution to CBPR

“ABR practices have emerged out of the natural affinity between research practice and artistic practice, both of which can be viewed as crafts.”- Patricia Leavy

Many of us have heard about community-based participatory research (CBPR), whether it was in a classroom, a nonprofit board meeting, or an evaluation research team. However, we may not be as familiar with arts-based research or its relevance to CBPR. For this reason, we will be exploring arts-based research and its contribution to CBPR.

CBPR is oriented towards promoting agency and participation within the community and dismantling those ‘active researcher-passive participant’ power relations that have a long history in research. The goal is to build capacity for a more equitable experience when initiating and carrying out research in communities.¹

This approach to research is, in many ways, revolutionary. It stemmed from two historical roots: The northern tradition and the southern tradition¹. The northern tradition has influenced our value in collaborating to solve problems and altering power dynamics. The southern tradition, linked to Latin America, Asia, and Africa, began as an integration of liberation theory and practice.¹ This paradigm emphasized an emancipatory approach to the social science², and was greatly influenced by challenging the positivist approach to research and the domination of the people by the Colonizers; this orientation was championed by Paolo Freier.¹

These two paradigms have influenced the way we currently think about CBPR. There are four major elements to CBPR: participation, the co-production of knowledge and control, praxis and equitable distribution of power.¹ Community members are actively involved in the research process and are considered  co-researchers who share ownership over the creation, implementation, and dissemination of the study.¹ CBPR is a framework that fits well with our goals and practice as community psychologists and contributes to our intention of understanding the social context of individuals within their communities.⁴  The Agency for Healthcare Research and Quality have developed criteria to evaluate the participatory qualities of research projects, which can be found here. These aspects may be helpful to keep in mind when developing CBPR studies.⁹

Similar to CBPR, arts-based research (ABR) provides a unique and transformative set of methodologies that draw on various art modalities to address social issues.^6,7 This approach uses art forms such as literary arts, music, dance, drama, visual art, film and so on.^6,7 It has served as a medium through which researchers and communities can identify or raise consciousness about social issues, such as poverty, sex-trafficking, or homelessness.⁶  The work of Dr. Izumi Sakamoto and her colleagues provides a powerful example of what arts-based CBPR looks like. Their Coming Together project documented the experience of homeless women and transwomen in Toronto. In using staged photography (an art form that combines photography, theatre, dance, and painting), women expressed their experiences with social support, trauma, homelessness, and discrimination based on gender or transphobia. The researchers and advisory board (consisting of women who had experienced homelessness) held public presentations showcasing the work, and disseminated the findings to local policy makers and social service agencies.⁸

In arts-based research, we can definitely see how the core concepts of CBPR emerge. ABR is, in fact, action oriented and participatory.⁶ ABR is a creative and powerful tool that can be used to create compelling, contextual accounts of a community’s experience.⁶ When we look at the history of participatory approaches in community psychology we see that it has been an important tool for engaging communities and promoting empowerment.^3,4,5 As arts-based CBPR continues to expand, we hope to see a stronger presence in community psychology research and practice.

In the coming posts we will explore different methods embedded in ABR/CBPR, and would love comments on people’s thoughts or experiences of these approaches!

This post was written by Katherine Cloutier from Michigan State University, and Kyrah Brown from Wichita State University.

1. Wallerstein, N., & Duran, B. (2003). The conceptual, historical, and practice roots of community based participatory research and related participatory traditions. In M. Minkler & N. Wallerstein (Eds.), Community-based participatory research for health (pp. 27-52). San Francisco: Jossey-Bass. 

2. Lykes, M. B., & Mallona, A. (2008). Towards transformational liberation: Participatory and action research and praxis. In P. Reason & H. Bradbury (Eds.), Handbook of action research (pp. 106-120). London: Sage Publications.

3. Kelly, J. G. (1971). Qualities for the community psychologist. American Psychologist, 26, 897-903.

4. Kelly, J. G. (2003). Science and community psychology: Social norms for pluralistic inquiry. American Journal of Community Psychology, 31(3/4), 213-217.

5. Rappaport, J. (1977). Community psychology: Values, research, and action New York: Holt, Rinehart, & Winston.

6. Leavy, P. (2009). Method meets art: Arts-based research practice. New York: The Guilford Press.

7. Finley, S. (2008). Arts-based research. In J. G. Knowles & A. L. Cole (Eds.), Handbook of the arts in qualitative research (pp. 71-82). Thousand Oaks, CA: Sage.

8. Sakamoto, I., Ricciardi, J., Plyler, J., & Wood, N. (2007). Coming together: Homeless women, housing and social support. Toronto: Centre for Applied Social Research, Faculty of Social Work, University of Toronto.

9. Agency for Healthcare Research and Quality. (2004). Community-based participatory research: Assessing the evidence. Rockville: U.S. Department of Health and Human Services: Rockville, MD.

Exploring Arts-Based Approaches to Community Psychology Research and Practice

Hello! 

This is Kyrah from Wichita State, and Katherine from Michigan State. As two students in community psychology programs we have become intrigued by, and invested in, arts-based participatory methods. As we begin to explore these methods and how they may be particularly useful when working in empowering and social justice oriented ways, we will be writing reflexive pieces here on the Community Psychology Practice Blog. 

Throughout our exploration we have decided to begin a posting series related to Arts-Based Approaches to CBPR (community-based participatory research). We are hoping these posts will be informative (regarding arts-based methods that practitioners are using), reflective (for us to share our experience using methods as well as our general reflections to how specific methods may be particularly useful for community psychologists), and inspirational (encouraging other students and scholars to explore arts-based methods further). We are also hoping for people to comment on our posts – give us feedback, share past experiences, anything – we’d love to hear it!

Please keep your eyes open for more posts coming soon!

Kyrah & Katherine