- 學位論文
社群本位藝術教育在農村的實踐與反思：以臺東縣電光社區為例
Practice and Reflection on the Community-Based Arts Education in Rural Area: A Case Study of Dian-Guang Community
摘要
20世紀以後，藝術創作型態產生巨變，藝術家開始有入世（engagement）的概念，強調參與、互動、討論與其生命、生活有關之議題的新類型公共藝術（New genre public art）的出現更為藝術作為公共參與的方式劃下嶄新的一面。而當代藝術教育更注重與生活之連結，重視真實情境脈絡的社群本位藝術教育就此開展。 1994年政府推動「社區總體營造」（community development）的政策，希望解決快速都市化對新興城鎮與既有鄉村所造成的不適感，但標準化的社區營造流程及社區規劃，讓社區成為「接受者」，被動的接受規劃後的產物，面對永續經營與發展上實為不易。新類型公共藝術出現，以社區本位藝術教育開啓對話與溝通的社群學習，而藝術進入社區成為原有社區營造標準模式的替代方案。 本研究之研究場域為臺東縣關山鎮電光社區，以「有故事的農村」社群藝術行動，從研究者進入社區後的角色轉換，到社區居民的參與歷程，欲探討藝術進入社區的社群學習。2012年開始，研究者於電光社區進行社群藝術行動，透過參與觀察瞭解當地常民生活型態，為藝術及藝術人進入社區，注入更為貼近社區的實踐方向，並藉由深度訪談參與行動之社區核心幹部，以及研究者從圈外人（outsider）到圈內人（insider）轉換歷程之分析，探究藝術進入社區的實施情形。 研究結果發現，階段漸進式的藝術行動規劃提供反思和調整的空間，有助於提高社群參與；藝術家深度參與社區生活有助於獲得社區居民的認同進而透過藝術家整合出農村故事帶動社區公共社群的形成。本研究中，藝術進入社區亦有所侷限，其藝術家個人能力有限，需要具有結合更多外部資源的能力，以及必須考量到外部資源的連續性。故綜合上述，提出對社區的兩個面向建議，一為以社區教育層面的社群本位藝教學習，二為以社區營造層面的資源整合發展色產業。而對未來實務亦提出同時身為藝術家及研究者兩種角色時，肩負同為多重角色的社會實踐者責任之建議。
並列摘要
A paradigm shift in arts practice occurred during the late 20th century. Artists interacted and collaborated with diversified audiences to communicate about issues directly relevant to their lives. Social engagement has become an important part in the new aesthetic language, closing the previously gap between art and life. Hence, contemporary arts practice and education is of the context and the community. The Community Empowerment policy promoted since 1994 has been a strategy for Taiwan Government to resolve the anxiety of arising towns and existing rural areas under the impact of rapid urbanization. Yet, standard operation procedures were formed out of successful cases and applied to different context, depriving communities of their agency and disregarding differences in contexts, eventually sabotaging the goal of sustainable development in community empowerment. The new paradigm of New Genre Public Art and community-based art education foster public social engagement by making dialogue and communication possible within the diverse community, and hence, a preferable substitution of the standard operations of government policy. This study explores the possibility of using arts as a means to empower the community. A one-year fieldwork was conducted in the Dian-Guang community, Guanshan Town, Taidong District. Through participating and observing the everyday life of the community, different new lights were constantly guiding and changing the course of the arts project practiced by the researcher. Core community members in project planning were interviewed to understand the changes in public engagement after the arts project was conducted. Also, through the analysis of the researcher’s self-narrative, the transformation from an outsider to an insider was also noted. Study shows that: 1. Phasic and gradual conduct of the arts project had provided space for reflection and adjustment in practice, hence promoting the community participation; 2. Artist’s in-depth participation in the community life facilitated mutual bonding and the formation of public community; 3. Community-based arts practice requires joining efforts of all, artist should continually engage more outer-resources. This study suggests that community-based arts education is important towards community building and learning, and artist/researcher should take on the responsibility of social practitioner.