Applied Creative Research (ICA). Innovating from art for the social sectors.

Among the various fields of application of art, this book focuses on the living arts (co-presence, co-participation, performative) .

Within these living arts, the different ways of doing ICA can be defined in three categories: shows to illustrate a social challenge, artistic workshops with a target audience, Theater Studies as a tool to renew professional practices or interactions in the social field.

This publication only considers the second modality: artistic workshops that are carried out with a target audience to respond to a societal challenge defined in advance.

The following three axes and a Manifesto are proposed to guide reflection.

First axis:

How to define the relationship between the ICA and the social sectors and challenges? Knowing that the ICA is a proposal that addresses social problems, what is its scope? its plasticity? Without considering that ACI is therapeutic – it is not art therapy – we propose to explore the connection between ACI and mental health (depression, confinement) or more generally with medicine (oncology, psychiatry, psychology, disability, nutrition, palliative care, Alzheimer’s, etc.). We thought about the role of the ICA in the company (conflict management, labor welfare, environmental responsibility, sexism, diversity, burn out, etc.). We do not forget the transforming power of the workshops in education, forcommunication (politics, television, advocacy), for the prison sector, for ecology, crossed by social challenges such as migration, peace, gender, racialization and ethnicity, etc. Knowing that it is an unlimited route of innovation, proposals are open to summon powers and promote connections in possible fields of performance of the ICA.

Second axis:

When creating connections between the ICA and a given field, it is important to highlight challenges and risks that arise in the relationship between the two. If the ICA is inscribed in life and in the social, we must inquire into the links between those who request the workshops and the innovative artists/researchers who carry them out. Applicants can be NGOs, universities, companies, government, municipalities, associations. What can these relationships be? What does it mean for the artist to have to respond to a commission? What are the obstacles, cultural, ideological, artistic, that may affect the dialogue? What can be the agreements between applicants and ICA specialists in different contexts and situations? Is it possible to think of a co-creation process with both parties? What are the limits of negotiation? What are the profiles that can be drawn on both sides? For example, there may be types of applicants who are authoritarian, distrustful, delusional, indifferent to a person who is an intellectual artist , commercial, open-minded, ideologized.

Third axis:

This third axis of the call for proposals is aimed at the applied artisticor applied art. The ICA draws a path of innovation that integrates several elements: the skills of the artist / the social challenge / the participants / the powers of art / the specific techniques of artistic languages (texts, bodies, materials, sound). To what extent does this route renew the way of making art? Can the powers of the arts for innovation be defined? The ability to improvise, to work with error, to manage rhythms, tempos and intensities, to make matter speak, to fictionalize objects and events are fundamental for applied workshops. In them, there is sensitive observation, intercommunication, co-participation as a capacity to mobilize bodies. The possibility of moving or con-moving others becomes a potential element that transforms thought, body, sensibilities. Fictionalizing reality allows us to create liminal spaces between what we are and what we are not. Possibilities of re-existence are revealed, with narratives that open space for the construction of knowledge from the body and build other possible worlds with the other. Co-living delocalizes and crosses bodies (individuals) to find a common experience and a common well-being.

*****

MANIFESTO FOR THE LEGITIMACY OF SOCIAL ARTISTS

Bogotá, November 2023

The social artist is the person who considers that he or she has a role in social life, beyond the collective representation of the creative genius still in force in the 21st century.

It considers that it can act for societal transformation, since it can promote relationships of growth, transformation, cooperation, mitigation of conditions of vulnerability, awareness, sensitization, mediation in the communities.

Knowing that applied creative research (ICA) is situated and contextualized, the social artist provides a response to the needs posed by the social and/or business sector in a specific territory.

The actions of the ICA artist are directed towards the well-being of all forms of life. In this sense, ICA manifests an ethical and ecological commitment that preserves life, dignity and integrity. In this route, she knows the risks of the use of the materialities she applies and recognizes herself as an artist who protects the territories and all the forms of life that inhabit them.

Its objectives can also be training, qualification and professionalization of people.

The ICA artist is at the service of the community and opens new paths.

The ICA artist de-centers himself from classical aesthetic relationships.

The ICA artist explores his or her creative potential from sensibilities other than a condition of genius.

The ICA artist recognizes the processes of co-creation with the social practices of the communities.

The ICA artist recognizes and encourages coexistence interactions between and with diverse communities (women, children, LGBTIQ+, Afro, indigenous, mestizos, migrants, youth, etc.).

The ICA artist recognizes the potential of communities for co-creative work.

The ICA artist recognizes the economic value of his or her artistic practice.

The ICA artist invents, adapts or adjusts his or her techniques according to the needs of the sector.

The ICA artist is a new agent of innovation in the 21st century.

Type of contributions: research articles and short reflections.

Researchers of the TransMigrARTS program or external authors interested in the subject canparticipate. Contributions are welcome in English, French or Spanish.

Proposals for articles will be submitted to the book coordinators no later than April 1, 2024. They will be approximately one page in length (i.e. 3,000 characters), and can be collective or individual. It is suggested to TransMigrARTS partners that the texts reflect trends or thoughts of the teams involved in the project since 2020. In the case of an individual article, it must address theoretical aspects of ACI, since it is a meta-reflection (pure case studies cannot be analyzed, although they can be integrated to illustrate the concepts). Authors whose proposal has been accepted will be informed around July 1, 2024 and must submit their full paper no later than November 31, 2024.

Proposals for short reflections (3,000 characters) will be received directly on April 1, 2024. Comments regarding acceptance will be communicated on July 1, 2024.

Proposals should be sent in Word (doc.) or PDF format to the following two addresses:

Monique Martinez <monique.martinez@univ-tlse2.fr>

Sonia Castillo Ballén <scastillob@udistrital.edu.co

Applied Research Creation (ARC). Innovating through art for social sectors

Among the various fields of application of art, this book focuses on the performing arts (co-presence, co-participation, performative).

In the field of the performing arts, the different ways of doing ARC can be defined in three categories: performances to illustrate a societal challenge, artistic workshops with a target audience, and theatre studies as a tool for renewing professional practices or interactions in the social field.

This publication considers only the second type: artistic workshops with a target audience in response to a societal challenge defined in advance.

To guide our thinking, we propose the following three axes and a Manifesto.

First theme:

How can we define the relationship between ARC and social sectors and societal issues? Given that ARC is a practice that tackles social problems, what is its scope and plasticity? Without considering that ARC is therapeutic -this is not art therapy- we propose to explore the link between ARC and mental health (depression, confinement) or more generally with medicine (oncology, psychiatry, psychology, disability, nutrition, palliative care, Alzheimer’s, etc.). We are thinking of the role of ARC in the company (conflict management, well-being at work, environmental responsibility, sexism, diversity, burn out, etc.). We will not omit the transformative power of workshops for education, for communication (political, television, legal), for the penitentiary sector, for ecology, traversed by social challenges such as migration, peace, gender, racialisation and ethnicity, and so on. Insofar as this is an unlimited avenue for innovation, any proposal that deals with the potential and connections in other areas where the ARC is possible fits into the problem.

Second theme:

When links are established between the ARC and a specific field, it seems important to highlight the challenges and risks that may arise during their interactions. If the RCA is part of life and society, we need to think about the relationships between the people who commission the workshops and the artists/researchers in innovation who implement them. The sponsors may be NGOs, universities, companies, governments, mayors or associations. What might these relationships be? What does it mean for the artist to respond to a commission? What are the cultural, ideological and artistic obstacles to dialogue? What might be the content of agreements between commissioners and RCA specialists, in different contexts and situations? Is it possible to envisage a process of co-creation with both parties? What are the limits of negotiation? What profiles might emerge on both sides? For example, there may be authoritarian, distrustful, enthusiastic or indifferent types of commissioner when faced with an intellectual, commercial, open-minded or ideological artist. How can these dilemmas be resolved?

Third theme

The third theme of the call is applied art. The ARC outlines a path of innovation that integrates several elements: the artist’s skills / the social issue / the participants / the powers of art / the specific techniques of artistic languages (texts, bodies, materials, sounds). To what extent is this course renewing the way we make art? Can we define the powers of art for innovation? The ability to improvise, to work in error, to manage rhythms, tempos and intensities, to make matter speak, to fictionalise objects and events, is fundamental to the workshops we are running. Sensitive observation, intercommunication, co-participation and the ability to mobilise the body are all present. The ability to move or co-move others becomes a powerful element that transforms thinking, bodies and sensibilities. The fictionalisation of reality creates liminal spaces between what we are and what we are not. Possibilities for re-existence are revealed, with narratives that open up a space for the construction of knowledge from the body and that build other possible worlds with the other. Coexistence relocates and crosses bodies (individuals) to find a common experience and well-being.

*****

MANIFESTO FOR THE LEGITIMACY OF SOCIAL ARTISTS

Bogotá, November 2023

The social artist is a person who considers that he/she has a function in social life, beyond the collective representation of creative genius still in force in the 21st century.

He/she considers that he/she can act for the transformation of society, because he/she can promote relationships of growth, transformation, cooperation, alleviation of conditions of vulnerability, awareness raising, mediation in communities.

Knowing that Applied Research Creation (ARC) is situated and contextualised, the social artist provides a response to the needs posed by the social and/or commercial sector in a specific territory.

The actions of ARC artists are geared towards the well-being of all forms of life. In this sense, the ARC demonstrates an ethical and ecological commitment that preserves life, dignity and integrity. He/she is aware of the risks associated with the use of the materials he/she works with and recognises himself/herself as an artist who protects the territories and all the forms of life that inhabit them.

They may also aim to educate, train and professionalise people.

The ARC artists serve the community and opens up new paths.

The ARC artist is a person who shifts the center of traditional aesthetic relations.

ARC artists explore their creative power from sensibilities other than the condition of genius.

ARC artists recognize the processes of co-creation with the social practices of the groups they work with.

The ARC artists recognizes and encourages coexistence interactions between and with diverse communities (women, children, LGBTIQ+, Afro, indigenous, mestizo, migrants, youth, etc.).

The ARC artists recognize the potential of groups for co-creative work.

ARC artists recognize the economic value of their artistic practice.

ARC artists invent, adapt or adjust their techniques to the needs of the sector.

The ARC artist is a new agent of innovation in the 21st century.

Nature of contributions: scientific articles and short reflections.

Researchers from the TransMigrARTS programme or external authors interested in the subject may participate. Contributions will be accepted in Spanish, French or English.

Timetable for the Call for Papers

Proposals for articles should be sent to the book coordinators by 1 April 2024 at the latest. They should be approximately one page long (i.e. 3,000 characters), and may be collective or individual. It is suggested to the TransMigrARTS partners that the texts reflect the trends or reflections of the teams involved in the project since 2020. If it is an individual article, it must focus on the theoretical aspects of ARC, since it is a meta-reflection (the analysis cannot focus on simple case studies, even if they can be referred to in order to illustrate the thinking).

Authors whose proposals have been accepted will be notified on 1 July 2024 and will be required to submit their full article by 31 November 2024 at the latest.

Proposals for short reflections (3,000 characters) will be received directly on 1 April 2024. Notification of acceptance will be sent on 1 July 2024.

Proposals should be sent in Word (doc.) or PDF format to the following two addresses:

Monique Martinez <monique.martinez@univ-tlse2.fr>

Sonia Castillo Ballén <scastillob@udistrital.edu.co

La Recherche Création Appliquée (RCA). Innover par l’art pour les secteurs sociaux

Among the different fields of application of art, this work is interested in the living arts (co-presence, co-participation, performative).

In the field of living arts, the different ways of doing RCA can be defined in three categories: shows to illustrate a social challenge, artistic workshops for a target audience, theatrical studies as a tool for the renewal of professional practices or interactions in the social field.

This publication considers only the second modality: artistic workshops that are carried out in the presence of an eligible public to respond to a definite societal challenge in amont.

We propose, to guide the reflection, the following three axes and a Manifesto.

Premier axe :

How to define the relationship between CAR and social sectors and societal issues? Knowing that RCA is a practice that addresses social problems, what is its purpose? its plasticity ? Without considering that RCA is therapeutic – it is not art therapy – we propose to explore the link between RCA and mental health (depression, confinement) or more generally with medicine (oncology, psychiatry, psychology, handicap, nutrition, palliative care, Alzheimer’s, etc.). We are thinking about the role of the RCA in the company (conflict management, well-being at work, environmental responsibility, sexism, diversity, burn out, etc.). We do not see the transformative power of the ateliers for education, for communication (political, television, legal), for the penitentiary sector, for ecology, through social challenges such as migration, peace, gender, racialization and ethnicity, etc. To the extent that it is a limited avenue for innovation, any proposal that deals with potentialities and connections in other areas where RCA is possible is part of the problem.

Deuxième axe :

When establishing links between RCA and a specific field, it seems important to highlight the challenges and risks that may arise during their interactions. If the RCA is part of life and society, we must reflect on the relationships between the people who run the workshops and the artists/innovation researchers who put them into practice. Commanders can be from NGOs, universities, companies, governments, teachers, associations. What can these relationships be? What does it mean for the artist to provide a response to a command? What are the cultural, ideological and artistic obstacles that may hinder dialogue? What can be the nature of the agreements between RCA commanders and specialists, in different contexts and situations? Can we envisage a co-creation process with the two parties? What are the limits of the negotiation? What are the profiles that can appear on both sides? For example, there may be different types of commanders: authoritative, fearful, enthusiastic, indifferent to an intellectual, commercial, open or ideologized artist. How to solve these dilemmas ?

Troisième axe

This third axis of the appeal is oriented towards applied art. The ICA designs a course of innovation that integrates several elements: the competences of the artist / the social context / the participants / the powers of art / the specific techniques of artistic languages (texts, bodies, materials, sounds). To what extent does this course of action renew the way of making art? Can we define the power of art for innovation? The ability to improvise, to work in error, to manage rhythms, tempos, intensities, to make the material speak, to fictionalize objects, events, is fundamental in the ateliers put into practice. Sensitive observation, intercommunication, co-participation as well as the ability to mobilize the body are present. The possibility of displacing or co-déplacer the others becomes a powerful element that transforms the thought, the body and the sensibilities. The fictionnalization of reality allows to create borderline spaces between what we are and what we are not. Possibilities of re-existence are revealed, with responses that open a space for the construction of knowledge from the body and that build other possible worlds with the other. Coexistence delocalizes and grows the bodies (the individuals) to find a common experience and a common well-being.

*****

MANIFESTE POUR LA LÉGITIMITÉ DES ARTISTES SOCIAUX

Bogota, November 2023

The social artist is a person who considers that he or she has a role in social life, beyond the collective representation of the creative genre still in force in the 21st century.

He/she considers that he/she can act for the transformation of society, because he/she can promote relations of growth, transformation, cooperation, attenuation of vulnerable conditions, awareness, sensitization, mediation in the communities.

Knowing that Applied Creative Research (ARC) is situated and contextualized, the social artist provides a response to the needs posed by the social and/or commercial sector in a specific territory.

The actions of the artist RCA are oriented towards the well-being of all forms of life. In this sense, RCA manifests an ethical and ecological commitment that preserves life, dignity and integrity. He/she is aware of the risks related to the use of the materials he/she uses and recognizes him/herself as an artist who protects the land and all the forms of life that inhabit it.

Its objectives may also be to educate, train and professionalize people.

The artist of the RCA is at the service of the community and opens new ways.

The artist of the RCA is a person who is separated from classical aesthetic relations.

The RCA artist explores his creative power based on sensibilities other than gender.

The artist of the RCA recognizes the processes of co-creation with the social practices of the groups with which he works.

The RCA artist recognizes and encourages coexistence interactions between and with diverse communities (women, children, LGBTIQ+, Afro, indigenous, Métis, migrants, youth, etc.).

The RCA artist recognizes the potential of groups for co-creation work.

The RCA artist recognizes the economic value of his artistic practice.

The RCA artist invents, adapts or adjusts his techniques according to the needs of the sector.

The RCA artist is a new agent of innovation in the 21st century.

Nature of contributions: scientific articles and short reflections.

Researchers of the TransMigrARTS program or external authors interested in the subject can participate. Contributions are received in Spanish, French or English.

Calendar of the Call for Participation

Proposals for articles will be sent to the book coordinators no later than April 1, 2024. They are about one page long (so far 3 000 characters), and can be collective or individual. It is suggested to TransMigrARTS partners that the texts reflect the trends or reflections of the teams involved in the project since 2020. If it is an individual article, it must be focused on the theoretical aspects of the RCA, since it is a meta-reflection (the analysis cannot be based on simple case studies, even if one can refer to them to illustrate the thought). Authors whose proposal has been retained will be informed on 1 July 2024 and must submit their completed article no later than 31 November 2024.

Proposals for short reflections (3 000 characters) will be received directly on April 1, 2024. The acceptance notices will be communicated on July 1, 2024.

Proposals must be submitted in Word (.doc) or PDF format to the following two addresses:

Monique Martinez <monique.martinez@univ-tlse2.fr>

Sonia Castillo Ballén <scastillob@udistrital.edu.co