Before joining LCDS i did have some experience working on community and participatory dance at my previous school where we had to work with special needs children to create a performance.

https://drive.google.com/file/d/1pikrFPWfKTwD2nKW58RK1eBTxNrtuili/view?usp=c

lassroom_web&authuser=0

Jill Green (2000) Power, Service, and Reflexivity in a Community Dance

Project, Research in Dance Education, 1:1, 53-67, DOI:

10.1080/14647890050006587

Submit the Padlet link by 12 noon on Wednesday June 25th. 

• Project Co-ordination

• Risk Assessment

This is your final week of entries on your self-evaluation log.

How did your lead artist end the encounter?

What rituals did they use?

Did you feel the project "ended well" for both you and the other dancers?

Was there anything missing from this ending?

How is the ending planned? 

A gentle reminder:

Part of ending well is about not raising unrealistic expectations: you may find participants wanting, for example, to meet for coffee or perhaps asking you to dance with them in the future. Try not to raise expectations which you may find afterwards you are unable to keep. You are in this project in a capacity as a student at The Place and it is held by your lead artist, so I ask you not to make independent arrangements with participants which are not communicated, and if necessary negotiated, with both me and your lead artist. We have a duty of care towards you and the participants and complex relationships between partner organisations within which your encounter sits.

10 THINGS YOU NEED TO CONSIDER IF YOU ARE AN ARTIST – NOT OF THE REFUGEE AND ASYLUM SEEKER COMMUNITY- LOOKING TO WORK WITH OUR COMMUNITY. By Tania Canas, RISE Arts Director / Member

What has helped you to feel prepared for starting work on your commission? Do you enter the commission with any questions or concerns?

This will help you critically reflect on them and support your selection for Term 3

The artist and practices I have chosen to analyse are Molly and Luke, Lizzie Fort and Francesca Matthys. Molly and Luke work with an older group of over 60s participants while Lizzie Fort work with a group of Vietnamese ladies who are living in London and Francesca works with a special needs community. All 3 of these artists have inspired me and made me rethink my perception of community work as they all talk about working hand in hand with the community rather than being in charge and leading it. I think this idea of community work makes a lot more sense as it really suggests that we are involving the community instead of just segregating ourselves into the ‘artist’ and ‘participant’. They all also did mention that they tend to listen to more of what the participants want and letting them take the lead more in terms of what they would like to do in that session. I think this idea of letting the participants have more authority over what they want to do but still not totally overruling the ‘professional’ in the setting was the most common thing I noticed in these 3 artists. Even though they let the community take charge of what they wanted to do, they still had an influence in deciding how these ideas would be carried out and how it would involve us as students. The main differences are mostly the way they interact with the community as they were dealing with very different individuals anyways. However, there wasn’t a very obvious difference in the way they handled situations as they all did mention to us that although they were facilitating the space, the community sometimes liked to settle their problems on their own instead of having someone constantly over their shoulder being ‘over’ helpful. I think all these projects would definitely have a huge impact on me but if I had to break them down, I think Molly and Lukes would be the most impactful as I really enjoy working with with older people and elderly. As I am very close to my grandparents, I do see how movement has very positively affected them. This project will also help me understand better how the older generation wishes to be heard or seen by the young generation. I also believe that this project will also help the gap between the 2 generations slowly close.

Summarise this article by answering the following questions:

What does the author think the "self-interest" of cultural organisations is when they choose to engage in co-creation? 

Phrased differently: Why might cultural organisations want to do this for their OWN interests? 

I think that cultural organisations are actively involved in co-creation performances in to present a ‘good’ front to the public eye as they want to be seen as an inclusive and all

-embracing company. These projects would also set them apart from other companies and possibly help them in the future when competing with others.

Mataram so writes: ‘One reason for making a distinction between participatory and community art is that they have different concepts of power-sharing.’ Summarise what these differences of power-sharing are.

Some differences of power-sharing that can be identified in these 2 concepts are that in participatory art, its like a one sided relationship more where there is mainly only one person holding authority like in the project ‘Sea of Hull’, the participants who signed up were kind of used as ‘props’ and just had to move and pose as directed by the artist in charge. This project proved that there was barely any involvement of opinion from the participants and it was purely choreographed and directed. In community art, there is no one specific person of authority as it is a co-created project. This can be seen in the ‘Bed, Entelechy Arts’ project where the piece came to life after lots of shared conversations and ideas from both people with artistic background and those without any professional knowledge of art. The power-sharing here is much more community based as the artist or the ‘professional’ in the project does not try to take over and hold authority over the entire process of creation rather, they are enjoying the entire interaction and discussion with others to help shape the final item.

In the final paragraph, Matarasso argues that co-creation might, indeed should, lead to a degree of shared ownership over the artistic products that takes it in directions which the artist leading the project thinks weakens the art. Why might the artist think this is a desirable outcome? What other goals might the artist be considering? Who defines what is “quality” in an art work in a co-creation process?

Making sense of collective events : The co-creation of a research based dance. (FORUM QUALITATIVE SOZIALFORSCHUNG SOCIAL RESEARCH)

https://www.qualitative-research.net/index.php/fqs/article/view/1525/3143

What is Co-creation? (CREATIVE COMMUNITIES UK)

https://creativecommunities.uk/what-is-co-creation/

Jo Parkes : Introduction to Participation, Communities and Activism

https://theplace.org.uk/study-redirect/post-graduate-courses/ma-dance-participation-communities-activism