Inclusive Initiatives
Contemporary Art and Contemporaneity within Art History: Japanese Movements for Revitalisation
Paper Presentation in a Themed Session Eimi Tagore-Erwin
Despite Japan’s global pop image, much of the internal Japanese art world counters this theory and aesthetic. While much of contemporary art practice in Japan has often framed within the context of commercialism and pop-culture, many have turned away from global art market trends to instead cultivate projects that focus on local community-building. Much of these projects engage with social practice, a phenomenon that has become increasingly popular in Japan as the gap between rural and urban communities continues to widen and government revitalisation initiatives emerge. This paper aims to deconstruct some ways in which Japanese art has been framed for Western reception over the years, and shed light on contemporary art festivals for revitalization that have been proliferating in Japan since the 2000s. The paper is situated within cultural studies and visual culture studies, and was conducted with consideration of Reiko Tomii’s method of ‘international contemporaneity’ in art historiography. It is complemented by investigative research into the Echigo-Tsumari Art Triennale, and onsite analyses of Setouchi International Art Triennale and Reborn-Art Festival. This paper implies that the new community-focused initiatives in Japan may bring about wider changes to Japan’s art identity on a global level.
Developing Artistic Practices of People with Disabilities: The Case Study of Latvia
Paper Presentation in a Themed Session Sarma Freiberga
Inclusion of people with disabilities in general society has been delayed in the Eastern Europe due to the severe consequences of the communist regime. Both on institutional level and in public opinion people with disabilities are still labelled as secondary. This refers also to embarking people with disabilities into artistic practices due to restricted accessibility. However, in the Eastern Europe significant improvement regarding visibility and overcoming stereotypes referring to the people with disabilities has been achieved thanks to grassroot activism. As a positive example the research paper analyses the case of the Integrative Arts Festival Come along! involving children and young people with special needs in Latvia, having started 21 years ago and since 2007 expanding to having reached the audience of 100 000 (from 1.9Mio inhabitants of Latvia which is a significant number) of national radio and television. The proposed paper focuses on the art product created by people with disabilities as an instrument of socialization and promoting understanding between different social groups, presenting the case of Latvia as a successful development able to provide a unconventional approach for inclusion.
Children Inspire Glass Project at Emporia State University
Paper Presentation in a Themed Session Carol L. Russell, Fletch Russell, Heather Caswell
Emporia State University’s Children Inspire Glass Project (2013 & 2016) demonstrated the power of authentically creative experiences for all children, and importance of their genuine ownership in that process. Art offers an avenue for success for all children, regardless of ability level, as there is no wrong way. This project demonstrates that with appropriate accommodations, all children can be engaged and focused when you foster creativity with an appropriate environment, materials, interactions, and TIME! Art is truly a right for all children and this project advocates the right of all children to express themselves through the arts. Practitioners will benefit from illustrations of collaboration and specific strategies/accommodations utilized to facilitate children’s visual art and creative writing expressions. With appropriate accommodations, all children can be fully engaged and share the joy of creative expression. Participants will observe a collaborative model and be provided with strategies to facilitate an inclusive group of children to creatively express themselves through visual arts and creative writing. Presenters will share various strategies related to their own specialty areas (visual arts, creative writing, special education, collaboration with families, university faculty and students). Documentation of responses and reflections about the CIGP from children, families, faculty, and students will be shared, which illustrates the authenticity, collaboration, and success of this project. This includes children sharing their designs, stories, and ideas at art shows. This material informs us for the upcoming CIGP III in Spring 2018, in addition to supports our funding efforts.
Art and Affirmation of an Intellectually Disabled Identity: The Experiences of Irish Artists with Intellectual Disabilities
Paper Presentation in a Themed Session Kaitlin Stober
Previous research suggests participation in the arts and/or disability arts can positively influence individuals' affirmation of a disabled identity; however, persons with intellectual disabilities (ID) have not been included in this research to the same extent as their peers with physical or sensory disabilities. In addition, much of the research that has referenced artists with ID does not highlight the voices and perspectives of the artists themselves. In response to this empirical gap, the present research study explored both the general experiences of professional artists with ID as well as their consideration and/or affirmation of intellectually disabled identities. Data was collected via two focus groups, one with five performing artists and the second with five visual artists, as well as follow-up, individual interviews with the artists. Key findings were identified via thematic analysis. All participants associated positive feelings with their artistic careers, and many reported friendships as a key benefit. Participants provided varied accounts concerning their considerations of intellectually disabled identities. Affirmation of an intellectually disabled identity was more common among performing artists, as multiple visual artists rejected the ID label due to associated stigma. Beyond actual rates of identity affirmation, other recurring themes supported the notion that art can be a fertile field for the development of positive self-identities in general, in addition to those specifically related to ID. Most notably, both performing and visual art participants suggested that being an artist improved confidence levels, benefitted their independence, and provided opportunities to demonstrate their capabilities to the general public.
