In our new series, Community Power, Voice is refocusing attention on the unique ability of creative communities to gather people together. The UK arts scene is too often dominated by famous institutions, London galleries and a select few individuals.
Community Power is turning this conception of British art upside down by underscoring the power of grassroots communities to affect local change, explore regional identities and foster togetherness.
Voice will spotlight organisations whose community practice lies at the heart of their work. We will be spotlighting a variety of organisations throughout the country, from rural residencies to city-based studios.
A short history of community art in the UK
Although various artistic collectives have risen and fallen, such as the 19th century Pre-Raphaelite Brotherhood, community art did not become fully rooted until the 1970s. It was characterised by groups of artists resisting established creative norms, such as the ability of famous institutions to determine aesthetic merit.
Community arts also rejected the commodification of art and individual arts practice, favouring collaboration and collectives. The aim was to better the whole community through creative practice and the dissemination of social messages, rather than achieve individual advancement. Art making on a community level was linked to local participation. It offered a space for local and regional identities to be developed and contested.
For example, 7:84 was a Scottish theatre group, whose work focussed on community outreach projects. John McGrath, one of its founders, explained the communal nature of theatre: “It is a public event, and it is about matters of public concern…The theatre is by its nature a political forum, or a politicising medium, rather than a place to experience a rarefied artistic sensibility in an aesthetic void.”
Undoubtedly, community arts and its later title of participatory arts, was inextricably bound up in left-wing politics. Artists utilised creative expression and performance in particular to contest the conservative status quo.
What does this mean today?
Today, communities brought together through creative expression entail a radical departure from art world norms. What matters is not so much the merit of the end product, but the collaborative process that enabled it.
The politicisation of community art is something that some groups adopt while others eschew. Creative communities are not necessarily aligned with the left-wing politics that characterised the movement in the late 20th century. Instead, local participation and community pride seems to be a primary goal of contemporary community arts organisations.
Explore Community Power
- How to create authentic community: lessons from youth-led Marginal Publishing
- Jean Joseph is one half of a creative partnership aiming to foster intergenerational relationships
- Creating community cohesion with Damon Jackson-Waldock from the UK’s first Studio of Sanctuary
- How to gain community trust through art with Steve Allbutt, founder of StudioName
- Community arts should meet everyday life: Adam Sutherland, Director of Grizedale Arts
- Claire Irving on how the East Leeds Project responds to community needs through creativity
- Karen Watson and Jon Wakeman tell Voice why they started East Street Arts and what keeps them going
- The Pallant House Community Programme is a 'sanctuary and a total lifeline' to its members of all abilities
- What we learnt from Community Power
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