Hosted by Griffith University Centre for Cultural Research
â€˜Creative communitiesâ€™ is a well-worn phrase conventionally equated with notions of well-being, civic participation and social inclusion. Creativity in this sense is regarded as social glue that bonds individuals together through collaboration in various forms of creative projects â€“ be it visual art, drama, dance, theatre,music, writing or a combination of these. that bring communities together in positive and fulfilling ways.
Similarly, community connotes a wholehearted feeling, the strength of relationships in networks or inclusiveness through a sense of shared characteristics and values.
There is now a significant body of practice, policy and academically focused work that highlights the importance of the â€˜creative communityâ€™ in fostering community well-being. At the same time, however, the term creative community throws up a number of questions that remain largely unaddressed in existing research, for example;
- How does creativity actually impact community?
- What is lost when the term â€˜creative communitiesâ€™ is imposed on place?
- How are decisions on processes of inclusion / exclusion in creative practices made and who controls such decisions?
- What happens to a creative community when access to resources that facilitate its creativity are lost or compromised and what sort of factors can contribute to this â€“ e.g socio-economic change, civil unrest, urban redevelopment, shifts in state and government policy?
Call for Proposals
Griffith Centre for Cultural Research invites proposal submissions from scholars, artists & cultural workers, designers, urban designers, architects and policy makers interested in presenting oral papers, presentations, interactive workshops, panels or roundtable discussions on the following Conference themes;
1. Creative Communities At Risk
- Perceptions of societal danger- Aversion and subversive behaviour
- Individual versus collective risk and possibility between invisibility and presence
- Laws and regulations and their impact or influence on creative communities
2. Itineraries of engagement
- Creative Practice and cultural indicators in policy making
- Idealization and leadership
- Professional versus hobbyist perspectives of creative practice
- Public events as catalysts for community
- Observing and evaluating participation in creative engagement
- Possibilities of participation- gatekeepers
- Emergent global creativities
- Community, creativity and post transnational trauma -, for example, 9/11- Bali bombing, London â€˜youthâ€™ riots, Black Friday Victorian bush fires
- Cultural tourism /mis-tourism
- Asia Pacific heritage Â·dialogues
4. Politics of networks
- Digital social networking (lived environments versus online/virtual)
- Politics, kinship, and the role of communities /Creative geographies, ecologies and networks
- Migration of skills and experience (migrants/refugees, professional arts workers, skills exchange learning, mentors and novice)
- Flexible and local forums and networks, complexity in varied contexts
- Hard-to-reachâ€™ membership cohorts.
5. Diversity and inclusion: Creativity as a catalyst for reconciling difference Social Sustainability and the creative artist: socially responsible creative commitment
- Personal Development as a liberating force: confidence building in community sub groups
- Collaboration: reliable interdependence: links through non-political non-biased creativity
- Transparency and ownership: who owns the project
- Old and skilled/young and skilled: forging links and breaking down generational barriers
Proposals due 23rd June 2012 to gccr [at] griffith [dot] edu [dot] au
Please use this form to submit your application.
Applicants will be notified of the acceptance of abstracts by 20th July 2012 at the latest.
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Cultura21â€²s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.
– Sacha Kagan (based in LÃ¼neburg, Germany) and Rana Ã–ztÃ¼rk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)