Forum on Community Arts 2014
For the Sake of the People
社群藝術論壇2014
我為人人
當文化被視為產業、在藝術用來生財的今天，藝術的新聞都是關於藝術如何以破紀錄的價錢賣出，連地產廣告也把豪宅與藝術高品味掛鈎作推銷。藝術在我們的社會，已變得越來越膚淺狹窄。藝術原本對社會、個人都有強烈功能，它不單提供個人表述、發揮，尋求創作喜悅的渠道，它更是建立社群身份、連結群眾、建立集體語言、傳遞分享共同信念和價值觀的工具。由原始狩獵社會以至現代國家，藝術都不可或缺，它是一個社群賴以生存、扮演著多元角色的生活必需品。二十一世紀在政府大力推動文化產業的潮流下，文化（包括藝術）的多元社會功能逐步被消磨。文化產業把文化產業化，文化藝術變成為有「知識」、有消費能力者享用的裝飾品。
幸好還有一些人仍堅持保留、發揮藝術可以有而且應該有的社會功能。社群藝術近年在香港方興未艾，這些藝術活動除了關注弱勢社群，亦使社區重拾活力，也同時揭示了社會的不公義，喚起不同社會群體對自身權益的醒覺，讓弱勢社群發聲，甚至進而以藝術及社會運動的形式，就環保、活化古蹟等議題開拓對話空間。社群藝術近年能在香港遍地開花，的確是值得探索與思考的課題。
面對社群藝術迅速興起，我們認為有需要舉辦論壇和工作坊，匯集本地及海外社群藝術參與者和學者分享經驗、建立強大網絡，並深入探討一些關於社群藝術的複雜問題。與此同時，無論認識社群藝術與否，我們也希望讓更多人體驗藝術的懾人力量與深遠社會意義，足堪成為日常生活中不可或缺的一環。
在何鴻毅家族基金的贊助下，香港中文大學的文化管理碩士及文學士課程，連同文化及宗教研究系的文化研究中心，終可如願舉辦這樣的一個論壇和工作坊。本人謹此向各位講者、辛勞參與的工作人員致謝。當我邀請參與者演講、分享或幫手組織工作時，幾乎每位獲邀者都馬上答應予以幫忙，充分反映出社群藝術那無私參與的慷慨。最後，我要多謝是次活動的參與者，包括由台灣遠道而來的學生，希望是次活動，可以孕育更多種子，讓藝術可以全面發揮它應有的功能。
何慶基教授
香港中文大學文化管理碩士及文學士課程主任
Today, when culture is seen as an industry and art becomes a means of generating wealth, it is no surprise that the news on art is all about how artworks are sold with record-breaking prices, and even real estate advertisements have begun to associate luxury apartments with this exquisite image of art for promotion. Art in our society have become more and more superficial and one-dimensional. Originally, it served a vital function to both the community and the individual – not only did it offer a medium for individual expressions and finding the joy of creation, but it was also a tool for establishing community identities, connecting the people with each other, forming collective languages and conveying common beliefs and values. From the hunting and gathering societies in ancient time to the nowadays nation-states, art has always been indispensable, being a necessity for the survival of communities and playing different essential roles. The policy direction of giving strong support to cultural industry as pursued by the Government in the twenty-first century has, however, gradually undermined the multi-faceted social function of culture (including art). Cultural industry has industrialized culture, and art has become an ornament enjoyed by those in possession of those who have “knowledge” and consuming power.
Fortunately, some still persevere in retaining and promoting the social function art can and should serve. This effort is most clearly reflected in the community arts that have been constantly emerging in recent years in Hong Kong. Paying special regard to the disadvantaged, these community arts have been able to revitalize community, expose social injustice, empower social groups and speak for the disadvantaged with their art. In the form of art and social movement, they have even managed to open conversations for such issues as environmental protection and heritage conservation. It is truly inspiring to see how they have flourished everywhere in recent years.
In response to the current surge in community arts, we consider this the right time to organize forums and workshops, gathering together the local and overseas community arts participants and scholars to share experience with each other and build up a strong network, as well as conducting in-depth studies of some complex issues relating to community arts. Meanwhile, we also look forward to acquainting more people, including those having no previous knowledge of community arts, with the fact that art can in truth be a daily necessity that is so captivating and bears such a profound social significance.
Under the auspicious of The Robert H. N. Ho Family Foundation, it is my great pleasure to see that MA and BA Programme in Cultural Management and Centre for Cultural Studies of the Department of Cultural and Religious Studies of the Chinese University of Hong Kong
can, at long last, fulfill the wish of organizing such forums and workshops. I hereby express my gratitude to the speakers and our hard-working staff. I can still recall that, when I first invited the participants to deliver talks, share their experience or engage in organizing the event, nearly everyone agreed to offer help without a second thought, which clearly reflects the altruism and generosity inherent in community arts. Finally, I would like to thank the participants for joining this event, including the students coming all the way from Taiwan. I hope that this event can plant a seed for the future, truly allowing art to play its full role.
Prof. Ho Hing Kay Oscar
Programme Director, MA and BA Programme in Cultural Management, CUHK
論壇日程 Programme Schedule
Keynote Speech 主題演講
Making Arts Meaningful: Recent development of Community arts in HK
重拾藝術的意義：香港社群藝術的發展
HO Hing Kay Oscar何慶基
（The Chinese University of Hong Kong香港中文大學）
As Hong Kong increasingly becomes the exhibition and wholesale centre of Asian art, together with the strong support from the Government in the development of cultural tourism and creative industry, art is reduced more and more into a mere commodity, its social function and meaning being significantly diminished. Art was originally a necessity for the survival of every society and race, but it now is turned into something no more than an ornament that allows creators to express themselves and the collectors to get personal pleasure and brag about their wealth and taste. On the other hand, in response to social injustice, the surge of voices standing up for various rights and even opposition movements, ranging from the conservation of environment and historic buildings to the critique of social injustice, has led to the emergence of a wave of community artworks, indicative of a new conception of the social function of art. Many communities and organizations have developed organically in reaction to the needs expressed by society. This trend will pose a lasting influence on the cultural map of Hong Kong.
隨香港逐步發展成為亞洲的藝術展銷中心，加上政府大力推動文化旅遊、創意產業等，令藝術越來越變得只是件商品，其社會功能和意義也大幅褪減。藝術原本是每個社會及族群不可或缺的一環，現今卻變成讓創作者展示自我、收藏家用以尋求個人喜悅和賣弄財富品味的裝飾物。另一方面，隨著因社會不公而湧現的種種爭取行動以至抗爭運動，包括環境、歷史建築的保育，以至對社會不公義的批判，引發社群藝術迅速興起，標誌著對藝術的社會功能的新認知。這類社群組織呼應社會需求而自然地發展出來，這趨勢對香港的文化地圖將有深遠影響。
Community-based Art in Taiwan
以社群為本的藝術在台灣
WU Mali 吳瑪悧
（National Kaohsiung Normal University國立高雄師範大學）
The community arts engagements have surged in Taiwan society in recent years, and the forms involved are also richly diverse. Art has been employed as a resistant or experiential tool, in which people are transformed by learning of art. It also has the power to facilitate regional development and social reform. The role and function of art in contemporary society have gradually been taken more seriously, and art also becomes the symbol of democratic society.
The phenomenon of community arts engagement and participation in Taiwan is closely related to the lifting of martial law in 1987 as well as the emergence of community building, public art installation and advocacy of cultural citizenship right since 1990s. As a result of these policies, artists-in-residence in both community and school campus has become more and more common. Community theatre, theatre-in-education, community video recording, illustration and soundscape have all become an endeavor to empower people through art. They all play a crucial role in the understanding of local culture, learning of art, enrichment of life, fostering of publicness, etc. In a way, this top-down and bottom-up cultural model interpenetrates and forms a civil community through art.
近年在台灣，藝術進入社區、藝術介入社會的案例愈來愈多，形式也豐富多樣。從以藝術作為抵抗或體驗的工具、透過藝術的學習以改變人，到以藝術作為轉化、帶動地方發展的力量，甚至透過藝術進行社會改革，藝術在當代社會的角色、功能，逐漸受到重視，也成為民主社會的表徵。
台灣藝術介入或參與社會的現象，尤其與1987年解嚴，1990年代開啓的社區營造、公共藝術設置、文化公民權的倡議有關。在這些政策的帶動下，藝術家進駐社區、進駐校園已成為一種常態，倡議式的社區劇場、教習劇場、社區影像紀錄、繪本、音景（soundscape）等，都成為透過藝術進行的培力工作，對於在地文化的認識、藝術的學習、生活的經營、公共性的召喚等，扮演著重要的角色。一定程度的，這個由上而下以及由下而上，相互滲透交融的文化生產模式，也成為透過藝術建構民間社會的一種展現。
Bishan Project: Art Production and Social Engineering
藝術生產與社會工程
OU Ning 歐寧
（Curator, Rural Reconstruction Practitioner策展人、鄉村建設工作者）
Art production in the Bishan Project is rooted in rural culture, and has arisen from a reflection on local art institutions and practices. Art in China today is an extremely lively and flourishing field of endeavor, yet it has been increasingly stifled by the public authorities and commercialism. Institutional mechanisms such as biennales, galleries, auctions and art expositions, which are outgrowths of European and North American museum systems, while vast in their global reach, have already been reduced to urban and national brands for the purpose of marketing, or even carnivalesque forums for commercial trading and financial investment. Art production has been relegated to the assembly line to obey the law of supply and demand, while the power of creativity and social critique are further diluted. Art production and circulation are concentrated in urban areas associated with economic development and high population densities, leading to the highly uneven distribution of production values, which by no means favors border regions or rural areas, and ultimately to the injustice caused by regional imbalance. Cities possess a surfeit of cultural resources and opportunities while cultural famine ravages border regions and rural areas, which is a pattern duplicated on a macro scale by the globalized political economy.
從藝術生產的角度來說，碧山計畫紮根農村，是出於對當下藝術系統及制度的一種反思。今日的藝術生態雖然非常蓬勃活躍，但卻越來越受制於公共權力和商業資本，發源於歐洲和美國的美術館制度、雙年展制度、畫廊拍賣會和藝術博覽會制度雖然在全球流布傳播甚廣，但均已淪為城市或國家品牌行銷或商業貿易以及金融投資的嘉年華式的遊戲，藝術生產變成滿足於供求關係的流水線訂制過程，藝術的創造力和社會批判的立場被日漸稀釋。此外，它的生產和流通場域更多集聚於人口密布、經濟發達的城市地區，它的價值產出根本無法惠及邊遠的農村地區，這造成了地區分布上的失衡和不公正：一方面，城市裡的藝術資源滿載超溢，另一方面，邊遠農村地區卻一片荒蕪，這和今日全球政治和經濟的布局幾乎同出一轍。
Public Art: Engaging Communities, Claiming Space
公共藝術：引發社群關注、宣示空間權利
Jack BECKER
（Forecast Public Art）
Public art is about people—creative individuals and communities—in an experimental dialogue. It’s an aesthetic and social inquiry into what makes everyday life more interesting, more meaningful, more livable. During the past two decades, as more artists from all different disciplines begin exploring the public sphere and collaborating with other sectors, the field has expanded exponentially. Today, artists around the world are moving beyond simply placing works of art in public places; they are leading and facilitating inventive engagements with communities, often working toward common goals and common good.
I will present a new, expansive definition of public art and share my thoughts about artists as change agents, as creative, collaborative citizens. Artists animate spaces, strengthen communities and invigorate our daily lives. They can bring people together, stimulate dialogues and contribute to public health. In essence, they are cultural community developers.
A cultural revolution is taking place around the world as more and more communities recognize that cultural resources and assets are essential to livability. Over the past decade the public art field has moved from the margins to the center of this important cultural shift.
Public art today is a broad spectrum of activities, a vibrant realm of possibility for communities large and small, urban and rural. Public art is about connecting creative practices with the needs, concerns and aspirations of communities, helping build a more caring, capable and sustainable world—not because art intrinsically contributes to that end, but because art has been successfully used to advance specific social, economical and cultural definitions of community health.
藝術就是指人們 富有創意的個人及社群 共同參與一場充滿實驗性質的對話。它以美學及社會的角度，探問究竟什麼可以令日常生活變得更有趣、更有意義、更值得享受。過去二十年，多了來自不同界別的藝術家開展對公共領域的探討，並與其他行業攜手合作，致使公共藝術界得以迅速擴展。現今，世界不同地方的藝術家，不再只限於將藝術作品置放在公眾地方；他們更主動以創新的形式投入社群及促進互動，並往往朝著共同目標和理想進發。
我將於是次論壇中提出一個嶄新、廣闊的公共藝術定義，並分享我的一些想法，講述藝術家如何成為帶來改變的行動者、具創意和願意共建成果的公民。藝術家為空間帶來生氣，令社群變得更茁壯及為我們的日常生活增添色彩。他們可以聚眾、刺激對話及為群眾健康作出貢獻。事實上，他們是文化方面的社群發展者。
越來越多社群承認，文化資源及資產對整體生活水平的提升至關重要，甚至我們可以說，世界各地都正在上演一場文化革命。過去十年間，公共藝術界已在這個重要的文化轉向中，從邊緣移向中心的位置。
目前，公共藝術是一個包含多樣活動的廣闊光譜，一個生氣勃勃、充滿可能性的領域，社群不論大小、不論城鄉，均可投入其中。公共藝術指的就是將創意實踐與社群的需要、關注及渴求連結起來，為建立一個更加關愛、有能力及可持續發展的世界盡一分力 不是因為藝術本來就可為此一目標作出貢獻，而是因為藝術已經成功被用作發揚社群健康當中的特定社會、經濟及文化定義。
Building an Effective Arts Organization
創建一個具成效的藝術組織
Shiree TENG 鄧式怡
（Independent Consultant獨立顧問）
An effective arts organization involves being clear on mission, vision, purpose, body of practice and knowing the impact we’re creating in the community. Knowing these core identity elements of the organization, we need to build an effective communications strategy to reach constituents and funders. Once a communications strategy is developed, the organization is positioned to compete for funding, staff, volunteers and visibility.
一家具成效的藝術機構必須擁有清晰的使命、視野、目的和實踐大綱，亦須明白我們在社群中可以創造何種改變。我們了解以上機構當擁有的身份核心元素，需建立一套有效的溝通策略，以覓得委託人及資助者。機構一旦成功發展出一套溝通策略，便能確保其於資金收入、職工、志願人士及知名度的競爭地位。