本研究係探討夢想社區文教發展基金會如何實行「夢想嘉年華」藝術創作踩街遊行,同時從社區參與者 ─ 中原芳鄰成長園參與夢想嘉年華遊行之經驗,以及運用夢想社區文教發展基金會所提供之資源舉辦工作坊的過程,分析發生於其中之非正規教育體系的社區藝術教育的運作模式。 本研究經相關文獻理論探討、訪談研究及作者親自參與三年芳鄰成長園之經驗後,對夢想社區文教發展基金會以及參與夢想嘉年華活動之社區團體─ 中原芳鄰成長園之數年經驗分析,所得結論為: 1. 夢想社區文教發展基金會在舉辦夢想嘉年華所發生的非正規社區藝術教育運作模式為: (1)執行組織人員精簡有彈性;(2)經費以自籌為主,強調社區資源整合; (3)常以學校為窗口,以社區為單位;(4)從教學創作、踩街到善後為完整的過程; 2. 夢想嘉年華中非正規社區藝術教育模式的意義為: (1)多元文化並置;(2)主動的學習態度;(3)施教者與受教者的角色並非固定;(4)全面的生活學習;(5)過程重於結果。 3. 夢想嘉年華中非正式社區藝術教育對參與者的影響為: (1)打破藝術之刻板印象;(2)增進觀察和欣賞能力;(3)社群與家庭的凝聚; (4)身體潛能的發展;(5)增進自信與勇氣;(6)本土的認同。 3. 影響夢想嘉年華中非正式社區藝術教育成功的因素為: (1)空間的支援;(2)特定性質的團體;(3)成功的草根領導者;(4)團隊成員的個人特質;(5)多元的參與者;(6)表現交流的機會 4. 夢想嘉年華中非正式社區藝術教育中的問題: (1)表演性質與教育性質的衝突;(2)教育深度與廣度無法兼顧; (3)藝術引導者教育經驗不連續;(4)外來文化與本土文化的缺乏深度交流; (5)多元嘉年華的迷思;(6)遊行活動的議題與核心價值無法兼顧。
This study explores how the Dream Community Culture & Education Develop Foundation realized “Dream Parade” the street parades and workshops focused on artistic creation. Through both the process of the project’s execution and the participation of the Chung yuan Fanglin Community Center, the study also seeks to analyze and discuss the various operation models of non-formal arts education executed within the framework of community art education. Since the author of this research has participated three years of the dream parade project, following relevant theoretical discourse and interviews on the subject, the conclusions reached in regards to both the foundation and to the participating Fanling Community Center are as follows: 1. The operational models employed by the foundation in realizing its non-formal program can be classified as: (1) The efficient and flexible use of personnel (2) Self-funding, with an emphasis on integrating community resources (3)Utilizing the school as primary contact window and the community as basic unit (4)A complete, holistic process spanning teaching, creating, executing, and conclusion 2. The value of the foundation’s non-formal arts education include its: (1)Equal emphasis on multiple cultures (2)Pro-active attitude towards learning (3)Fluid teacher and student roles (4)All-encompassing learning of life (5)Emphasis on the process over the result 3. The influence and imprint of the program on its participants include: (1)The debunking of stereotypical impressions of art (2)An increase in the ability to both observe and appreciate (3)The coalescing of community and family (4)The development of physical potentials (5)An increase in self-confidence and courage (6)An identification with local culture and pride 4. Factors in the program’s success: (1)Spatial supports (2)Specific targeted groups (3)Successful friendly leaders (4)Personal character of team members (5)Participants with wide-ranging backgrounds (6)A chance to interact and engage in dialogue 5. Problems facing the program include: (1)Conflict between its educational and performance natures (2)Inability to balance breadth and depth of educational efford (3)Uneven educational experience on the parts of the guides (4)lack of conference or formal discussion between foreign culture and local culture (5)Existing misconceptions of a multi-cultural carnival (6)Consideration in regards to the true core values of the event in the form of parade