This article was published online on 22 December 2010. An error was subsequently identified in the spelling of author's surname. This notice is included in the online and print versions to indicate that both have been corrected on 24 February 2011.
Exploring the meaning of participation in a community art project: A case study on the Seeming project†
Article first published online: 22 DEC 2010
Copyright © 2011 John Wiley & Sons, Ltd.
Journal of Community & Applied Social Psychology
Volume 21, Issue 4, pages 358–370, July/August 2011
How to Cite
Madyaningrum, M. E. and Sonn, C. (2011), Exploring the meaning of participation in a community art project: A case study on the Seeming project. J. Community. Appl. Soc. Psychol., 21: 358–370. doi: 10.1002/casp.1079
- Issue published online: 16 JUN 2011
- Article first published online: 22 DEC 2010
- Manuscript Accepted: 22 NOV 2010
- community art;
In Australia, community art has drawn significant research attention in regard to its potential as a community development strategy. Despite the fact that researchers have presented evidence for the positive developmental outcomes of participation in community art projects, a gap remains in understanding how and why people's participation in a community art project can lead to those positive outcomes. This research explored the meaning of participation in a community art project from the vantage point of the people who experience it. Ten participants were interviewed about their participation in a community art project (The Seeming) held in Bendigo, Australia. Following thematic analyses we identified three themes of how participants viewed their participation in a community arts project. These themes included giving voice to the silenced, creation of social connections and challenging and reproducing stereotypes. Participation means coming together and the findings highlight the potential of community arts projects for promoting the creation of new relationships and new stories about community. However, there are also problematic stories about self and others that were not deconstructed. It is argued that the settings in which different groups join can be meaningfully extended if there is an explicit concern with consciousness raising and deconstruction of normative stories. Copyright © 2010 John Wiley & Sons, Ltd.