Community and Art

COMMUNITY AND ART Community and Art Shawn Haymaker Submitted to the faculty of the Art Therapy Program in partial fulfillment of the requirements for the degree Master of Arts in Art Therapy in the Herron School of Art and Design Indiana University May 2021 Community and Art By Shawn Haymaker Master of Arts in Art Therapy Herron School of Art and Design, IUPUI Indiana University Eileen Misluk Director, Art Therapy Advisor Accepted May 2021 _________________ Greg Hull Interim Dean Herron School of Art and Design COMMUNITY AND ART ii Acknowledgements I would like to thank all the survey participants who took time to complete and submit their responses. I would also like to thank my awesome cohort, professors, the support of Herron School of Art and Design, and my supervisors and clients at my internships. I especially would like to thank my advisor, Eileen Misluk for being so supportive throughout this journey. I am grateful for the advisement of Natasha Chopra for editing support. I am also grateful for the writing center at IUPUI. Throughout this project, I have learned how community is important to me. COMMUNITY AND ART iii Dedication I would like to dedicate this to my wife and family who supported me as I completed this program. There is so much slack that needs taken up when one person in the family is busy with a project such as this. I am forever grateful and thankful for my wife, Carrie Sample, who has supported me as I finished my education and dream of becoming an art therapist. I once gave up on finishing college, but I met Carrie a few years ago and decided it was time to finish what I started many years ago. I never thought I would be here writing this dedication in a master’s thesis. Support, community, and social capital do bring success. I would like to thank my daughter, Allyssa Haymaker, for believing in her dad and listening to me read this thesis out loud to her repeatedly as edits were made. I am forever grateful to my two wonderful stepsons, Elijah and Isaiah Sample, who repeatedly picked up the slack in household chores while I studied, read, typed, and retyped this project. Lastly, I am grateful for my friends for their support, while they may have wondered where I disappeared to over the past two years. COMMUNITY AND ART iv Table of Contents Acknowledgements .................................................................................................................... ii Dedication................................................................................................................................. iii List of Tables ............................................................................................................................ vi Abstract ................................................................................................................................... vii Chapter I: Introduction ................................................................................................................1 Operational Definitions ...........................................................................................................2 Chapter II: Literature Review ......................................................................................................3 Community .............................................................................................................................3 Social Capital ..........................................................................................................................4 Bonding...............................................................................................................................5 Bridging. .............................................................................................................................5 Art and Space ..........................................................................................................................6 Art Therapy.............................................................................................................................8 International Art Therapy ........................................................................................................9 Safety ....................................................................................................................................11 Conclusion ............................................................................................................................ 13 Chapter III: Methods .................................................................................................................14 Design of Study.....................................................................................................................14 Instrumentation and Procedure of the Survey......................................................................... 14 Location and time. ............................................................................................................. 15 Participants........................................................................................................................ 15 Recruitment. ......................................................................................................................15 Data analysis. .................................................................................................................... 15 Possible risks. .................................................................................................................... 16 Chapter IV: Results ................................................................................................................... 17 Limitations ............................................................................................................................ 22 Conclusion ............................................................................................................................ 22 Chapter V: Discussion ............................................................................................................... 24 Social Capital and Bonding ................................................................................................... 24 Social Capital and Bridging ................................................................................................... 24 COMMUNITY AND ART v Location ................................................................................................................................25 Defining “Community” ......................................................................................................... 26 Community as a Relationship ................................................................................................ 27 Chapter VI: Conclusion and Recommendations......................................................................... 29 References ................................................................................................................................31 Appendix A: Informed Consent................................................................................................. 37 Appendix B: Survey .................................................................................................................. 40 Appendix C: Survey Cover Letter ............................................................................................. 42 COMMUNITY AND ART vi List of Tables Table 1: Job Titles .................................................................................................................... 17 Table 2: What Type of Organization? ....................................................................................... 17 Table 3: Clinical vs Non-Clinical ............................................................................................. 18 Table 4: What Does Community Mean to You? ....................................................................... 18 Table 5: What Makes Community Thrive? .............................................................................. 19 Table 6: What Role Does Art Play? .......................................................................................... 20 Table 7: How Do You Get The Community Involved? .............................................................20 Table 8: Who Determines Goals? ............................................................................................. 21 Table 9: How Has The Pandemic Changed Community? ......................................................... 21 COMMUNITY AND ART vii Abstract Community may hold different meanings to different people and situations, which may or may not be bound by physical space. Community is not well defined and is especially difficult to define in literacy research. It was hypothesized the definition of community would include similarities on a broader scale, although there may be differences that reflect diverse cultural traits on a smaller scale. This study was a parallel mixed methods research study that utilized a systematic literature review and a convenient survey design aimed to understand how community-based providers define the term “community” within their work. Connection, support, commonality, were among the highest mentioned when asked in the survey, “what does community mean to you?” Listening, dialogue, and communication were important key elements when asked, “what makes community thrive?” The survey results indicated sense of belonging and bonding of like minds were the most important aspects of community, as well as, connection, support, and common values, ideals and traits were important factors in defining community. A guideline for clinicians was provided as they define community in their work across the world, cultures, and ethnicities. Keywords: community, art therapy, social capital, infrastructure COMMUNITY AND ART 1 Chapter I Introduction There seems to be an assumed definition of the word “community” across peer reviewed literature. It seems as if the author assumes the reader holds the same meaning for the word “community”. After further research, I learned community means something more than just likeminded people coming together. Community can hold different meanings across different cultures. Some cultures are individualistic, and some are collectivist. I learned social capital plays a huge role in how community is defined, as well as how successful, healthy, or stable that community is. Therefore, the meaning of community is not the same for everyone, and it should be further explored with deeper conversations before attempting to apply mental health interventions that utilize community-based art therapy approaches. The purpose of this study was to develop a working operational definition for the word “community” by utilizing a systematic thematic convenient survey. By using a thematic analysis approach for the data collected from the survey, it was hypothesized that commonalities would emerge to serve as a foundation for a definition that is sensitive and inclusive of community complexities and diversities. COMMUNITY AND ART 2 Operational Definitions Art Hive: A community art studio space that facilitates inclusion, respect, and learning (Art Hive, 2014). Art Therapy: Integrative mental health and human services profession that utilizes art making and the creative process to facilitate healing, improved self-esteem, and emotional regulation (AATA, 2017). Community Arts: A collaboration between artists and non-artists (Ottemiller & Awais, 2016). Community Stakeholders: People that have influence or concern within a community. These people might influence law or policy, promote empathy and understanding, and support wellbeing (Ross, 2016). Creative Placemaking: Creative placemaking partners with the public, private, nonprofit and community stakeholders to problem-solve and find strategies to shape the economic, physical, and social characteristics of a place by utilizing arts and cultural activities (Markusen & Gadwa, 2010; Webb, 2013). Public Safety: The welfare and protection of the general public (Ross, 2016). Social Capital: Networks of social trust and social connections that enable individuals to thrive and survive within a given social structure or society (Lewandowski & Streich, 2012). Survey: A systematic method for gathering information from a sample of populations for the purposes of constructing quantitative descriptors of the attributes of the larger population (Groves et al., 2011). COMMUNITY AND ART 3 Chapter II Literature Review Community Community is not well defined and is especially difficult to define in literary research (Wargo & Oliveira, 2020). Community from an anthropological perspective is defined by people who gather together by way of common interests and ways of knowing (Anderson, 1983; Wargo & Oliveira, 2020). Wargo and Oliveira (2020) also discussed the limits of community as it may not be bound to physical geographic space. Digital space could be considered a community (Wargo & Oliveira, 2020). There are many different layers and practices of what constructs a community and brings people together. Cleveland (2011) stated that community is made up of people with common interests and is defined by “place, tradition, intention, or spirit” (p. 3). The arts and creative process can inform and inspire community building, growth, and engagement (Cleveland, 2011). Grodach (2010) stressed social engagement and interaction, public space, neighborhood investment, art spaces, involvement, and participation as key components of community. Additionally, the arts can educate, inform, mobilize, nurture, heal, and build community infrastructures (Cleveland, 2011). Peck (1987) described the community as safe, inclusive, peaceful, and non-competitive. Community is something more than just groups of people or a collection of individuals (Peck, 1987). Peck (1987) described a need for individuals to communicate deeply and honestly with each other to fully create a meaningful definition of community. Building a community that allows different points of view and the freedom to express themselves is vital for communication that is deep and honest (Peck, 1987). “In a genuine community, there are no sides” (Peck, 1987, p. 71). Community should embrace a spirit of peace (Peck, 1987). Peck (1987) shared advice for individuals or members to not walk away COMMUNITY AND ART 4 or leave the community when in disagreement as this will only weaken the soul of the community. Peck (1987) made the point that the community should remain peaceful and inclusive to many different points of view. Social Capital Social capital is a vital and an important key to the development of community (Kim, 2018). Social cohesion, sense of community, and generalized trust are key elements that characterize community (Forrest & Kearns, 2001; Kim, 2018; Putnam, 2000; Wilkinson, 1999). These elements are closely tied to health, youth development, and crime rates (Kim, 2018; Osbourne, Baldwin, Thomsen, & Woolcock, 2017; Sampson et al., 1997; Wilkinson, 1996). Social capital is not easily defined (Mularska-Kucharek, 2014), but according to Booker-Drew (2020), social capital simply means networks, associations, relationships. Trust is vital for the success of social capital (Booker-Drew, 2020). There are four types or categories of social capital: bonding, bridging, linking, and identifying (Booker-Drew, 2020). Bonding happens when likeminded people get together that have similar interests, in other words “connecting to people who are just like us” (Booker-Drew, 2016, 0:17). Bridging happens when people connect with others who are different than themselves (Booker-Drew, 2020). Linking happens when people connect themselves with people from their work environment (Booker-Drew, 2020). Identifying happens when people connect based on identifying factors such as race or ethnicity (Booker-Drew, 2020). Communities that have high social capital have higher educational outcomes, lower crime rates, and higher civic engagement (e.g., higher voter turnout) (BookerDrew, 2020). According to the research, individuals who are fortunate enough to have high amounts of social capital are more likely to be healthier, happier, and wealthier (Pasricha, 2014). COMMUNITY AND ART 5 Communities with low amounts of social capital struggle to overcome barriers from less accessibility to educational support, job information, and networks, (Kim, 2018). Bonding Duffey (2009) stated that grouping like-minded people is important in building social connections in communities. Social connections not only benefit the individual, but also the community (Duffey, 2009). Collaboration between artist and non-artist members can build trust and relations as they work towards building their collective identity (Goldbard & Adams, 1987; Ottemiller & Awais, 2016). It is important to get to know community members, leaders, and organizations to build trust (Ottemiller & Awais, 2016). Ottemiller & Awais (2016) suggested utilizing systems theory, multicultural counseling theory, empowerment theory, relationalcultural theory, critical psychology theory, and social justice theory as an informed approach for successful interventions for community (Beresford, 2002; Christens, Peterson, & Speer, 2011; Evans et al., 2014; Jordan, 2014; Nelson, Prilleltensky, & MacGillivary, 2001; Sue & Sue, 2012). Communities need more than just bonding to thrive (Pasricha, 2014). Essentially, bonding alone keeps rich communities rich and poor communities poor as information is shared for maintaining or surviving that way of life (Pasricha, 2014). Bridging Ottemiller and Awais (2016) spoke of bridging as they highlighted the importance of “networking outside of the community to obtain additional resources” (p. 145). Grodach (2010) completed a case study of the relationship between public space and community development in the Dallas-Fort Worth metropolitan area. Grodach (2010) noted that the director of the Latino Cultural Center utilized an eclectic approach to programming because “that is the way to broaden COMMUNITY AND ART 6 the audiences. Some will be interested in film, and others in poetry or dance. Coming here may expose them to the galleries” (p. 483). Webb (2013) commented that creative placemaking brings diverse people together by utilizing public and private spaces, rejuvenating structures, and creating inspiring streetscapes. In a case study using textiles, the creative arts became a vehicle for both bonding and bridging (Webb, 2013). Researchers found that these arts activities in Somalia are used to facilitate communication, preserve cultural traditions, and empower community members (Byrd and Gadwa, 2009; Webb, 2013). Bridging facilitates networking, communication, support, and empowerment (Pasricha, 2014). Art and Space One way art therapists can be successful when building communities is to collaborate with local artists (Ottemiller & Awais, 2016). Art therapists bring many great skills to the table when working in communities, but it is important for art therapists to find ways to move away from medical models when collaborating with local artists (Ottemiller & Awais, 2016). Duffy et. al. (2009) reported authenticity has a core element in counseling processes. Authenticity and empathy are also key components for creativity (Duffy et. al., 2009). Another key component of authenticity is therapeutic presence which involves the therapist or facilitator being in tune with themselves as well as the client (Schwarz et. al., 2018). Sometimes artists and art therapists need to rethink art directives or art activities due to lack of materials and media (Kapitan et al., 2011). Sometimes art therapists need to utilize the creative outlets, materials, and media a community already has in play (Kapitan et al., 2011). In a treatment approach for collective community trauma, the researchers emphasized the lack of access to art supplies, so study participants used other creative measures to narrate their stories, such as poetry, song, and dance (Kapitan et al., 2011). COMMUNITY AND ART 7 Art can be used for social justice (Travis, 2018). Travis (2018) shared examples where art was used for social justice by giving voices to the unheard. In one example, soles of shoes were altered to create stamps as they reflected messages in their footprints in sand (Travis, 2018). Dellicarpini (2020) utilized murals for young people who were involved in New York City’s justice system. This project looked at ways to mitigate power differentials by giving a voice to the youth through art (Dellicarpini, 2020). Providing a space for art in a community will benefit community development, and connections for the community to promote a platform for underrepresented groups to find their voice (Grodach, 2010). Some benefits of arts in the community are economic gain and social cohesion which can gradually transform neighborhoods at risk for pervasive violence (Wereta, 2014). Art and works of art can improve cultural spaces and atmospheres that encourage tourism and increase industry (Wereta, 2014). Webb (2013) featured creative placemaking in three case studies to examine and address the needs of urban neighborhoods. Weaving and use of textiles to make and create beautiful useful items was utilized to bring women of all ages together as they studied English as a Second Language (ESL) in a neighborhood in Minneapolis (Webb, 2013). Takashi Horisaki used latex casts of architecture facades and meaningful objects within the community to create remarkable artworks to bring a sense of belonging to the audience; this artwork was titled “Social Dress” (Webb, 2013). Yesler Terrace Youth Media, located in Seattle, Washington, employed programs such as Youth in Focus where disadvantaged teens learn photography after school (Webb, 2013). Webb (2013) found that art not only plays a role in the aesthetics of place, but also the aesthetics of belonging. COMMUNITY AND ART 8 Ross (2016) placed an importance on public safety and creative placemaking as creative placemaking is a form of participatory art making that should be authentic and human-focused. Creative placemaking is based on the work of Jane Jacobs (Ross, 2016). Place is more than just a built environment (Webb, 2013). For example, “place can be a cultural center, a vibrant mural, a youth led multi-media arts program, or a weaving collective of immigrant women” (Webb, 2013, p. 39). Cleveland (2011) noted “good art, public service, and community development were not exclusive” (p. 2). Pamela Kingfisher, a Native cultural consultant and offered powerful insight on how the Indigenous view art and place. There is no word for art in our Native languages. We see ‘living in beauty’ as inextricably intertwined with community building, spirituality and religion, land and natural resources, health, intergenerational learning, economic development, cultural continuity, and communities. Art for art’s sake does not exist in our communities. Art is sovereignty – art is survival. (as cited in Webb, 2013, p. 38) Art Therapy While conducting social action research in Brazil, Golub (2005) found art can become a vehicle for communication and problem solving between the wealthy and the poor. Golub (2005) stated that community-based art therapy can be a theoretical framework offering more than just individual psychodynamics, it can lead to empowerment. The role of an art therapist in community-based work should be as a facilitator and not therapist (Ottemiller &Awais, 2016; Wadeson, 2000). Kapitan et al. (2011) asserted that art therapists should look outside the mainstream culture of the U.S. for multicultural insight. For example, art therapists could look to Latin America for healing powers that would positively affect the community. Kapitan et al. (2011) used Participatory Action Research to validate the importance of narrating the stories of COMMUNITY AND ART 9 the community. By participants narrating their own stories, the community members can find their voice and possibly find solutions to problems the whole community faces (Kapitan et al., 2011). Kapitan et al. (2011) noted, “when people come together to practice critical inquiry, they develop a capacity to see, reflect, and become subjects of their own development” (p. 64). Art therapists should broaden and expand the definition of what art therapy is and highlight the importance of safety for participants in models for community-based art therapy as well as inclusion (Kapitan et al., 2011). International Art Therapy Sarirafraz et al. (n.d.) conducted a study in Tehran, Iran utilizing a survey and found that good use of public art in public spaces can enrich the community and build social cohesion. The communities enriched with public art feel safer and more inviting because art plays a significant role in developing public space and public space has a significant role in human development (Sarirafraz et. al., n.d.). Wereta (2014) stressed the importance of infrastructure and sense of belonging as part of a healthy community. Economic growth, social inclusion, and environmental balance are key factors in community (Wereta, 2014). In a case study in Bogota, Columbia, mayor Enrique Panalosa (1998-2001) found a way to bring social cohesion to place (Wereta, 2014). Panalosa developed a project called Ciclovia, and it is still in use today (Wereta, 2014). Every Sunday and on holidays, a select number of streets are closed in the city of Bogota for biking, roller skating, jogging, running, walking, and community engagement (Wereta, 2014). Ciclovia has grown to include 600,000 to 1,400,000 participants enjoying the 97 km of closed avenues (Wereta, 2014). COMMUNITY AND ART 10 Segio Fardo, a Columbian politician, stated, If you build a beautiful library in a poor neighborhood, it gives people a sense of importance. It raises their dignity and gives them access to goods such as education. It also brings visitors from other parts of the city. This is what encourages social integration. (as cited in Wereta, 2014, p. 221) Guinard (2012) studied three different art led approaches to unify a park and art museum that is physically connected in Johannesburg, South Africa. Johannesburg became segregated according to skin color in 1950, and tensions rose in the 1980’s as white flight took hold (Guinard, 2012). During Apartheid, the Johannesburg Art Gallery (JAG) was a white-only gallery located in Joubert Park. Joubert Park had areas of white only spaces although the park was open to all people. These areas were fenced to separate the spaces (Guinard, 2012). The 1990’s brought an end to the apartheid government, but the JAG and park areas remained segregated, and non-whites dominated the park spaces and whites dominated the JAG (Guinard, 2012). Three art led interventions were developed in an attempt to unify the spaces (Guinard, 2012). One art intervention included an oversized game of chess where the fence was the division between black and white pieces (Guinard, 2012). Another art intervention included an actor who led park guests through a scene from a drama that ended at the fence with an invitation for guests to enter the JAG (Guinard, 2012). The third art, and most successful, intervention included creating oversized puppets that individuals could wear which mirrored a cultural celebration and utilized a parade (Guinard, 2012). Guinard (2012) found even when invited to follow an art-based movement exercise to enter and engage with the JAG, non-whites did not enter the space (Guinard, 2012). Many would stop and turn around just before entering the open COMMUNITY AND ART 11 gates (Guinard, 2012). Guinard (2012) found that it is not just about inviting or welcoming, a level of safety and inclusion needs to be felt (Guinard, 2012). Safety Wargo and Oliveira (2020) suggested understanding power across all levels when defining community. Johnson (2016) described communities with pervasive violence with an us versus them approach. In this article, Johnson (2016) compared poor American kids that have exposure to community violence to former child soldiers that have been affected by war. The author described how poverty can include “unsafe environments, social discrimination, and exclusion” (p.50). Poverty also includes lack of access to education and lack of resources that make up social capital such as mental health interventions (Johnson, 2016). This lack of social capital can create a divide, or us versus them, which can lead to violence between the middleclass and under-resourced populations (Johnson, 2016). As a child is exposed to childhood neglect and violence, they are more likely to continue the cycle of violence when they become an adult (Kondo et al., 2018). Also, violence can become a normal part of everyday life for those in under resourced communities (Scorgie et al., 2017). Johnson (2016) stated policymakers should provide more resources that include a “strong sense of formal kinship support and spirituality” (p. 51). Instead of criminalizing a child’s behavior that is disruptive in class, the teacher could ask “What is happening in this child’s life to cause them to respond in this way?” (Johnson, 2016, p.53). Community members who feel unsafe will often reduce their physical activity outside their home and may adopt maladaptive coping strategies such as substance use resulting in COMMUNITY AND ART 12 comorbid mental illnesses as they withdraw from community social and civic life (Kondo et al., 2018). In a case study utilizing interviews, Pacichana-Quinayáz et al. (2016) found reducing fears and adding layers of safety allows community members to engage and participate with neighbors. Although, Scorgie et al. (2017) found strong leadership, commitment from local and national stakeholders, and positive role models that are held accountable are vital for interventions to be successful. Developing a sense of safety is an important aspect of community development (Kondo et al., 2018). Community arts and a sense of safety are important aspects of community development (Ottemiller & Awais, 2016). Communities that value and display art provide a better sense of safety than communities that do not (Sarirafraz et. al., n.d.). Schwarz et. al. (2018) highlighted the importance of authenticity, which may lead to safety within the space provided for creative art making. Art spaces can function as public spaces (Grodach, 2010). Public art is vital to developing public space. Furthermore, public space plays an important role in developing levels of social and environmental benefits which leads to positive impacts on human development (Sarirafraz et. al., n.d.). Kondo et. al. (2018) explored a variety of interventions that neighborhoods could do to reduce violence. None of these interventions included art, but many of these interventions could be applied to a studio space for art making for measures of safety. Broken windows and properties that are run down will invite criminal activity (Kondo et al., 2018, p. 255). Installing adequate lighting can deter violence (Kondo et al., 2018, p. 255). Adding and maintaining landscaping around the studio space or greening can reduce areas where weapons can be hidden and reduce mental fatigue (Kondo et al., 2018). In a Wellbeing of Adolescents in Vulnerable Environments (WAVE) study, Scorgie et. al. (2017) found a difference in what defines safety in communities according to gender. Boys COMMUNITY AND ART 13 and girls were asked to draw maps of their communities and identify places they felt were safe (Scorgie et al., 2017). Boys identified more places they felt safe during the day than girls did on the maps they created (Scorgie et al., 2017). Interventions are needed that build social capital and resilience, and part of building such interventions include a feeling of safety and belonging (Scorgie et al., 2017). Conclusion The literature review elucidates the lack of a clear definition of what community is. It is assumed in many articles that the meaning of community lines up with the definition of “bonding” in social capital, but a thriving community is more than “bonding”. Bridging is important for community members to access networking connections and establish empathy for others to reduce the us versus them mentality. By offering a survey to mental health facilitators who utilize art in their populations, data was collected to understand how community facilitators define of the word “community”. I hypothesized that most definitions or meanings of the word “community” would include the bonding aspect of social capital. Consequently, utilizing diverse theoretical approaches to increase awareness of the importance of bridging, safety, belonging, and ownership to the meaning of community, future community-based art therapy interventions will become more successful and thrive. COMMUNITY AND ART 14 Chapter III Methods Design of Study This study was a parallel mixed methods research study that utilized a systematic literature review and a survey. A systematic literature review was used to review published data about the relationship between art therapy and communities. By completing a systematic literature review, it was hypothesized the term “community” might hold different meanings for different people depending on culture, perspective, and geographic location. It was further hypothesized the term “community” may hold another meaning when the community space becomes virtual. The survey sought to compile diverse definitions of the term “community” and how the role of art therapy or the relationship of art to community differs with regards to these different definitions (see Appendix B). Questions were developed for the survey based off the primary literature review. Survey questions were used to inform how diverse definitions of the term “community” structure community involvement and how the role of art and art therapy interventions adapt to meet the needs of diverse communities. Instrumentation and Procedure of the Survey I developed an online survey due to the lack of a clear and cohesive operational definition of the word “community” and how this definition affects art led mental health treatment programs in community-based settings. The survey was designed in Google Forms, an online survey administration software program (Appendix B). The survey includes four closed, multiple COMMUNITY AND ART choice checkbox questions and eight open-ended questions. The survey gathered information from mental health providers who utilize art in their treatment plans with the intention of creating a working operational definition of the word “community”. Survey questions inquired about the facilitators’ job title, the kind of company they work for, how the facilitator defines community, and the role art has with the population they serve. A consent form was submitted to the Institutional Review Board at Indiana University Purdue University of Indianapolis for approval of the study (see Appendix A). A copy of the survey was submitted as well (see Appendix B). Location and time. The survey was conducted electronically through Google Forms, which is an online survey administration software program. A link to the survey was issued in February 2021. Participants had two weeks to complete the survey. Participants. Study participants were mental health providers including art therapists who utilize art in their treatment programs for the populations they serve. Participants were chosen from networking colleagues in the field of art therapy as well as facilitators in the Art Hives. Ten participants were anticipated to submit information to the survey from the United States and Canada. Recruitment. A letter requesting participants to complete the survey was sent electronically via email (see Appendix C). Data analysis. Survey responses were recorded using Google Forms. Themes from the survey responses were analyzed for similarities and differences. 15 COMMUNITY AND ART Possible risks. A risk of completing the survey was a loss of confidentiality and discomfort in answering questions. Participants were able to skip any questions they were not comfortable answering, and they could stop the survey at any time. 16 COMMUNITY AND ART 17 Chapter IV Results Twenty-four participants completed the survey. Tables 1 through 3 provide demographic information on the survey participants. Participants were able to select more than one option for the demographic questions asked. Table 1 Job Titles Job Titles Art Therapist Mental Health/ Behavioral Educator Graduate Student Intern Non-Clinical Community Intern Clinical Program Owner Marketing Community Specialist Clinical Supervisor Student Artist Therapeutic Specialist Number 10 4 3 1 1 2 2 1 1 1 1 1 Table 2 What type of organization do you work for? Type of Organization Number Non-Profit Private Practice Retired Academic Community-Based Medical Government 3 7 3 1 1 1 1 COMMUNITY AND ART 18 Table 3 Clinical versus non-clinical Clinical versus Non-Clinical Number Clinical Non-Clinical Other 19 8 1 Participants were asked, “Do you believe the meaning of community is the same for everyone?” Twenty-two respondents answered “no” to the question, and this accounted for approximately 92% of the answers. Two participants selected “maybe”. A content and thematic analysis was used to combine similar phrasing and words to tally the responses. Common themes from the short answers given to the question, “What does community mean to you?” are detailed in Table 4. The most common responses include connection, support, and common values, ideals, and traits. Table 4 What does community mean to you? Themes Connection Support Common Values/Ideals/Traits Variety of People/ Ability of Gifts Choice Share in Commonality Location Protection Purpose Sense of Belonging Large/Size/Doesn't Matter Virtual Safety Collective Space Communication Goals Inclusion Allyship/ Social Justice Number 7 9 6 1 1 9 7 1 4 4 1 1 1 1 1 5 1 1 COMMUNITY AND ART Growth Accessible/ Equitable Larger Issues/ Individual Attunement Acceptance Resources 19 1 1 1 1 1 1 Common themes were identified from the responses to, “What makes community thrive?” and organized in Table 5. The most prevalent themes include listening, dialogue, and communication makes community thrive. Table 5 What makes community thrive? Theme Mutual Aid Engagement Group Activity Sense of Belonging Barriers -Implicit/Explicit Compassion/ Grace/ Empathy Listening/Dialogue/Communication Support Respect Allyship/Social Justice Purpose/Goals Commonalities Honesty Connection Shared Experiences Safety Challenges StructuralResources/Funds/Leadership/People Collaboration Trust Determination Good Personality Creativity Acceptance Harmony Number 3 6 3 1 3 7 9 5 4 1 4 3 1 3 1 3 1 7 3 4 1 1 1 1 1 COMMUNITY AND ART 20 “Does art play a role in the community you serve?” All participants answered yes. To further understand, participants were asked, “What role does art play?” Table 6 provides a breakdown of the common themes. Table 7 details the most effective ways to involve community. Common themes were outreach, marketing, and word of mouth are best ways to get the community involved and fully invested. Table 8 stated most respondents identified the community or group determines the goals or objectives for the community. Table 6 What role does art play? Themes Public Platform Building Trust Creating Communication/Listen/Learning/Witness Education Building Community/Collaboration/Engagement/Inviting Connections/Shared/Relationships Awareness Advocacy/Social Issues/Power Differential Security/Support Number 1 3 1 4 6 5 6 1 5 4 Table 7 How do you get the community involved and fully invested? Themes Outreach/Marketing Word of Mouth Exhibition Social Media/Technology Community Agency/Captive Audience Number 4 4 3 3 1 COMMUNITY AND ART 21 Table 8 Who determines the goals or objectives for the community you serve? Goals Facilitator Community/Group Both Insurance Treatment Team/Admin Non-Profit I Do Not Know 4 12 6 1 1 1 4 Many respondents stated the pandemic has changed the way we view physical space and resources, connections, and the general overall sense of community. Table 9 displays common themes given. More participants thought the changes to virtual because of the pandemic were more positive than negative. Six participants thought the pandemic changed the definition of community in a negative way and twelve participants thought the change was positive. The data reviewed found that the question, “what makes community strong” was redundant to the earlier question, “what makes community thrive”. This information was omitted from the results. Table 9 How has the pandemic changed the definition of community? How has the pandemic changed the definition of community? Physical Space/ Resources Virtual Space Less Art Mental Space Disruption in Daily Routines Digital Divide/Accessibility Strengthened Connection Sense of Community - Smaller, Weakened, Barriers) Increased Awareness 7 8 1 1 1 1 3 7 7 6 COMMUNITY AND ART No Change 22 4 The survey results indicated sense of belonging and bonding of like-minds were the most important aspects of community, and most respondents from the survey reported that connection, support, and common values, ideals and traits were important factors in defining community. This falls in line with my hypothesis where most people identify the bonding feature of social capital when defining community. Limitations Some limitations for the survey were small sample size and possible lack of diversity amongst the participants. A future study could include a race and ethnicity identifying question to better understand the participant pool and the potential influence on the patterns in defining “community”. The survey does not offer opportunities for explanation, conversation, or clarification. This proved to impact the results. For example, one participant noted the questions were unclear and did not make any sense, however the survey was successful in that it was quick to administer and glean data from in a constrained time frame. The sample size was limited and convenient, and participants were able to self-select participation. The survey was sent to participants in North America, where a generalized sense of safety may look different to other countries and cultures. Conclusion Developing a definition of community is challenging. Based on my data, belonging and bonding of like-minds were the most important aspects of community, as well as, connection, support, and common values, ideals and traits were important factors in defining community. Based on the results of the survey, the definition for community must be fluid enough to embrace the changes and challenges the world may face in the future. Community is also an abstract term COMMUNITY AND ART that may include a sense of safety, inclusion, and ownership. A definition of “community” should be adaptable, fluid, and inclusive to capture diverse cultures, ages, genders, ethnicities, and unforeseen circumstances, such as a pandemic. 23 COMMUNITY AND ART 24 Chapter V Discussion Throughout the literature, there seems to be an assumed definition of community for readers, however community could mean something different to everyone. There are many factors that elucidate what community means. These factors fluctuate according to gender, culture, ethnicity, region, age, and so much more. Overall, social capital plays an important role in community development. Social capital refers to networks, associations, and relationships (Booker-Drew, 2020). The more social capital an individual has available, the healthier they will be (Pasricha, 2014). Social Capital and Bonding Most definitions of community usually include elements of bonding from social capital, which is where like minds or those with things in common gather together to create a community (Booker-Drew, 2016). The survey results indicated sense of belonging and bonding of like-minds were the most important aspects of community. This view is consistent with the literature when referring to bonding, since most people think community consists of joining like minds together (Booker-drew, 2020). What is interesting is that community and bonding can also exist involuntarily. Those that grieve the loss of a loved one, for example, did not likely choose to become a part of a grief community but find themselves thrust into such a community during a critical life event. Vulnerable bereavement communities highlight the need for a sense of safety to bond with each other to find healing and peace on their grief journey. Social Capital and Bridging Social capital also includes elements of bridging where those with diverse backgrounds come together to work towards a common goal (Booker-Drew, 2020). According to the COMMUNITY AND ART 25 literature, bridging is also an important aspect of community. An example of bridging could be when people come together to view the arts at a cultural center that offers diverse programming such as film, poetry, or dance (Grodach, 2010). Art therapy may be an effective catalyst for bridging. The data and research showed that, providing a space for art to either be displayed or created without the therapy aspect can increase sense of belonging, safety, ownership, bridging, and bonding, and these elements are important building blocks for community (Cleveland, 2011; Golub, 2005; Grodach, 2010; Kapitan et. al., 2011; Ottemiller & Awais, 2016; Ross, 2016; Sarirafraz et. al., n.d.; Travis, 2018; Webb, 2013; Wereta, 2014). Therefore, it is important for clinicians to carry an awareness that community holds different meanings across the world, cultures, and ethnicities. Location Location is also important in the definition of community because those within a set location build community together (Webb, 2013). This can be a physical location, such as a housing community. In some communities, knowing and bonding with your neighbors is important. Moreover, the concept of location has also expanded to include digital space. The COVID-19 pandemic has shown that community can be expanded to include those that are physically far away but within a digital space. The majority of respondents from the survey reported that connection, support, and common values, ideals and traits were important factors in defining community. Listening, dialogue, and communication were important key elements when asked, “What makes community thrive?” Thankfully, all these qualities can happen in a digital space and the pandemic has encouraged people to stretch their definition of community to include these characteristics when considering location. COMMUNITY AND ART 26 Since the pandemic, I have been able to attend virtual art making communities from around the world. I learned how Art Hives can positively affect communities. Art Hives are nonprofit organizations that provide free access and space to participants to create, relax, and be free to make art (Art Hive, 2014). Many Art Hive communities have lost their physical space due to the pandemic, but they have transformed them into digital space. For example, The Living Room Community Art Studio is an Art Hive based out of Oshawa, Ontario, Canada (The Living Room, 2015). Since the pandemic, The Living Room Community Art Studio has provided more virtual support by way of Facebook, Instagram, and YouTube videos. This has increased their participants and participation. The Origami Therapy Association has expanded to include virtual workshops (The Art of Origami, 2019). These workshops connect participants and facilitators from Japan and across the globe. These are only two examples of art-based organizations that have expanded their reach to include digital space when defining location. Defining “Community” Many have not attempted to define community because a rigid definition may not exist. The definition for community must be fluid with a set of guidelines to include changes and challenges of unforeseen circumstances. For instance, no one could have predicted the COVID19 pandemic that halted normal activities of everyday life across the globe. Yet, the pandemic has just changed the way we view community. Thus, a definition for community must be fluid enough to embrace the changes and challenges the world may face in the future. Community is also an abstract term and should include a sense of safety, inclusion, ownership, and sense of belonging. These are important elements and building blocks for a community to thrive or be successful, but community can also be a physical space in which a person lives or works. People may not know or bond with their neighbors, and they may not need to for the relationship to COMMUNITY AND ART 27 work. As these communities of location may have less importance, it becomes essential for individuals to seek out communities that further enhance their well-being. Community as a Relationship It is my belief after researching the literature and analyzing the survey results, community is simply a form of a relationship. There are many kinds of relationships, and that seems to be common knowledge. The problem is the assumption that there is only one kind of community. The research and survey results show that is not true. When addressing community in academic writings, authors should address this and state what community means to them and what community meant to the population they were writing about. Some guidelines for clinicians as they investigate the meaning of community are as follows: 1. Find out if the population or culture is individualistic or collectivist. 2. Ask the participants if they feel safe or have a sense of belonging within the structure of the community. 3. Find out what makes this community work or not; some communities provide shelter and food not friendship or bonding. 4. Is this a community where participants volunteered to participate in? Or are they a part of this community by force (e.g., grief, trauma, loss, refugees, sexual assault victims, and domestic violence victims)? Some communities were not the participant’s choice. COMMUNITY AND ART 28 These are just some of the fluid elements that make up or can change the definition of community. Even unforeseen circumstances can shake apart a concrete definition of community, and the pandemic has clearly proved this. Providing a concrete definition of community is challenging. I can only say that the definition should be fluid enough to include the unexpected. Community should be discussed so that false assumption regarding community is not made and context is clear. COMMUNITY AND ART 29 Chapter VI Conclusion and Recommendations A clear definition of community has not been successfully depicted in literature sources. Intentional conversations need to take place to ensure a culturally competent approach to discussing what “community” means to readers and participants for the article, research, and program to be successful and efficiently provide mental health services for the intended populations. The consequence of minimizing the need for a fluid definition of “community” risks further marginalizing disenfranchised populations including race, socioeconomic status, gender, and more. The existing literature suggested sense of belonging, safety, inclusion, and ownership were important elements for community building across diverse cultures, and art can become a catalyst for having this dialogue. The survey mirrored this to a moderate extent. Connection, support, commonality, were among the highest mentioned when asked in the survey, “What does community mean to you?” Listening, dialogue, and communication were important key elements when asked, “What makes community thrive?” The survey results showed art played a significant role in community building. The literature review allowed for a collection of information on how community might be defined across diverse neighborhoods around the world. I learned that social capital is very much a part of this meaning. Research shows art does play a significant role in social capital and the development of thriving communities. Safety and belonging help communities thrive, and feelings of safety and belonging may be different depending on race, gender, and identity. Art interventions and art spaces can be successful locations for safety, belonging, inclusion, and cohesion for neighborhoods, especially when the COMMUNITY AND ART 30 facilitator is willing to understand the word “community” can hold different meanings for different individuals. My key discovery and findings from this project highlight the critical need to have the conversation about the differences and similarities in the meaning of “community”. Humans need to create art just as they need to interact with each other, and art making creates a safe environment for both to happen. Furthermore, a definition of “community” should be adaptable, fluid, and inclusive to capture diverse cultures, ages, genders, ethnicities, and unforeseen circumstances, such as a pandemic. I hope this research will inform clinicians and art therapists as they define and develop community in scholarly works and community-based interventions. COMMUNITY AND ART 31 References Art Hives. (2014, February 25). 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Art therapists do research to answer important questions which might help change or improve the way we do things in the future. This consent form will give you information about the study to help you decide whether you want to participate. Please read this form, and ask any questions you have, before agreeing to be in the study. TAKING PART IN THIS STUDY IS VOLUNTARY You may choose not to take part in the study or may choose to leave the study at any time. Deciding not to participate, or deciding to leave the study later, will not result in any penalty or loss of benefits to which you are entitled and will not affect your relationship with Herron School of Art and Design, IUPUI. This research is intended for individuals 18 years of age or over, if under 18 years of age, do not complete the survey. WHY IS THIS STUDY BEING DONE? The purpose of this study is to develop or understand the definition of community as it pertains to mental health. You were selected as a possible participant because you are a mental health provider who works in the community. The study is being conducted by Shawn Haymaker, graduate student and Eileen Misluk, Assistant Professor of the Art Therapy program at Herron School of Art and Design, IUPUI. COMMUNITY AND ART 38 HOW MANY PEOPLE WILL TAKE PART? If you agree to participate, you will be one of ten participants taking part in this study. WHAT WILL HAPPEN DURING THE STUDY? If you agree to be in the study, you will do the following things: - Receive a survey link via email. Complete an online survey through Google Forms. The survey will be completed one time and is estimated to take 15 minutes. After the first invitation to participate in the study, you will have two weeks to complete the study. A reminder of the survey will be sent at the beginning of the second week after the original invitation is sent. WHAT ARE THE RISKS OF TAKING PART IN THE STUDY? While participating in the study, the risks, side effects, and/or discomforts include: • A risk of completing the survey is a loss of confidentiality and being uncomfortable answering the questions. WHAT ARE THE POTENTIAL BENEFITS OF TAKING PART IN THE STUDY? We do not expect you to receive any benefit from taking part in this study, but we hope to learn things that will help art therapists in the future. HOW WILL MY INFORMATION BE PROTECTED? Efforts will be made to keep your personal information confidential. We cannot guarantee absolute confidentiality. Your personal information may be disclosed if required by law. No information which could identify you will be shared in publications about this study. Organizations that may inspect and/or copy your research records for quality assurance and data analysis include groups such as the study investigator and his/her research associates, the Indiana COMMUNITY AND ART 39 University Institutional Review Board or its designees, and state or federal agencies who may need to access the research records (as allowed by law). WILL I BE PAID FOR PARTICIPATION? You will not be paid for participating in this study. WILL IT COST ME ANYTHING TO PARTICIPATE? There is no cost to you for taking part in this study. WHO SHOULD I CALL WITH QUESTIONS OR PROBLEMS? For questions about the study, contact the researcher, Shawn Haymaker or Eileen Misluk at emisluk@iupui.edu or 317-278-9460. For questions about your rights as a research participant, to discuss problems, complaints, or concerns about a research study, or to obtain information or to offer input, please contact the IU Human Subjects Office at 800-696-2949 or at irb@iu.edu. COMMUNITY AND ART 40 Appendix B Survey Community and Art By filling out this survey you are consenting to participate in this study. 1. What is your job title? 2. What kind of company do you work for? Mark only one oval. Private Practice Non-profit Other: 3. Do you believe the meaning of community is the same for everyone? Mark only one oval. Yes No Maybe 4. What does community mean to you? 5. What makes community thrive? 6. Does art play a role in the community you serve? Mark only one oval. COMMUNITY AND ART 41 Yes No 7. What role does art play? Check all that apply. Social Justice Healing Education History Other: 8. How do you get the community involved and fully invested? Does art play a role here? If so, how? 9. Who determines the goals or objectives for the community you serve? 10. How has the pandemic changed the definition of community? 11. What makes a community strong? 12. If you have any thoughts on community and the role of creative art making. COMMUNITY AND ART 42 Appendix C Survey Cover Letter Dear (Participant), I am currently conducting a graduate study to create a working definition of “community” and how it pertains to mental health work. Due to the lack of a clear definition in the current research of what community is, I have created a survey for mental health providers, art therapists, and other community workers who utilize art in their community-based programming. The survey is estimated to take 15 minutes. The data collected in the survey will aid in providing a working definition of community as it pertains to mental health and inform recommendations for art therapists as they design and build community infrastructures. Your unique perspective would be greatly appreciated in this study. Your personal information will be kept confidential utilizing Google Forms to collect your responses anonymously; however, I cannot guarantee absolute confidentiality due to collecting data through an online survey. Participation in this survey is voluntary. Please see the attached link to participate in the survey. https://docs.google.com/forms/d/e/1FAIpQLSeHwNUMy4QFOfDkWQwmGabBcfVjetCevp_IC TN2OmVEnb9uRw/viewform?usp=sf_link If you have any further questions, please contact me at the following email address: shhaymak@iu.edu Thank you so much for your time, Shawn Haymaker