Friday, 27 January 2012

One subject, two takes

Just after I completed the Culter Mills project last year I met Amy Marletta who was working on the Arts Development project Artist In The Green. A visual artist from Glasgow, Amy had involved residents and business people of The Green, an inner-city area of Aberdeen, in a series of photographic portraits and written a song on basis of their memories of the area. Though the idea of writing a song on basis of people’s memories is similar to the one I took in the Culter Mills project, I felt that our approaches were subtly different.

Whether a community music or arts activity is approached from an artistic or community development perspective influences how the relationship between artist and participants is negotiated and developed. Lyn Gardner even goes as far as warning against projects in which artists dash in with their own agendas and needs without real reference to the community. In my experience, even if a community artist or musician has own ideas at the outset of a project, he or she is often also genuinely concerned with incorporating the ideas of participants. Rather, I’d like to think that the kind of impacts of the two approaches are different.  

In the Culter Mills and Parallel Lives projects my intention was to contribute to community relations, while my Whaling and Songs Of The Earth projects have been driven by my enthusiasm for music composition. When I engage people in the latter kind of projects, I hope to contribute to the participants’ personal development by contributing to their (artistic) skills and inviting them to reflect on interesting subjects. This is different from the community development objectives in for example the Culter Mills and Parallel Lives projects. Such community development involves bringing communities together through, as Alison Rooke and David Kendall suggest, dialogue, sharing, friendships and action. Though I felt that Amy’s approach differed only subtly from my own, I now realise her work mainly engaged people on an individual basis, thus contributing to their personal development whereas my approach aimed more at enhancing community relations. The community development objective often involves a degree of personal development among the participants, but the personal development objective not necessarily includes the improvement of community relations. 

There is merit in both approaches to community music. Though I prefer to use both takes on the subject, I think it is important to be clear about my objectives for specific projects. As I’m interested in developing my ideas about the impacts of community music and arts on participants and their communities, I’d love to hear from other community musicians and artists about the work they’re doing.

For other blogs on community music:
Learning to sing together
More than music
On whose terms?
Why folk songs?
Community music - music for communities

Copyright text and image Petra Vergunst

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