Artists who are committed to social justice through their work must navigate a complex contemporary art world characterized by numerous political positions and aesthetic expectations. In this paper, Nato Thompson observes two overarching approaches taken by artists—strategic and tactical—that operate against a political and economical infrastructure. Thompson describes successful examples in both categories, including sustained place-based work; culturally engaged radical pedagogy; engaged museums; engaged academic institutions; and a variety of work that raises questions...

Folk arts include a constellation of artistic activities and cultural expressions in community life that are informal, often popular in orientation, amateur, voluntary, and occurring in myriad social contexts. As expressions of deep cultural knowledge, creative expression, activism, cultural durability, and community values, folk and traditional arts can be tools for community empowerment and social change. In this paper, author Betsy Peterson captures a range of cultural activity beyond familiar forms such as protest songs that use cultural tradition to explicitly address or mobilize...

From an environmental perspective, we are living in transitional times; the practices we engage in now have far-reaching implications for the survival of the earth and all its life forms. “Environmental Art” is an umbrella term for a wide range of work that helps improve our relationship with the natural world. Art provides a lens through which to explore aspects of society--from urban food production, climate policy, watershed management, and transportation infrastructure to childhood education and clothing design--from an ecological perspective. This paper provides a brief...

Dance practitioners across the country are creating innovative opportunities for community, civic, and social engagement. Choreographer, organizer, and former Urban Bush Women company member Paloma McGregor highlights contemporary community-based dance practice; concert dance that is intentional in connecting to community members and issues; and programs where the next generation of socially engaged dance artists are incubated. Through a wealth of stories and examples of dance artists all across the country, McGregor describes how community-based dance—the work of both pioneering...

In his essay, Erik Takeshita, Program Officer for the Local Initiatives Support Corporation (LISC) in the Twin Cities, explores the experience of MicroFest: New Orleans and observes that art requires four characteristics to have a positive, sustainable impact on community: Residents and communities are the agents of change, not the targets of change….Art is at the center….Place matters….Art works across sectors and is collaborative. Based on a panel held in the St. Claude neighborhood, he examines common issues in community development: the role of race in community...

Conflicts in Iraq and Afghanistan have produced a wave of returning veterans suffering from both physical and emotional traumas as well as families, communities, and a society in need of ways to understand, adjust, and heal. Writer and “former military kid” Maranatha Bivens characterizes ways that art is raising awareness of the issues facing service members, bridging gaps in knowledge and communication between veterans and civilians, and offering veterans paths to healing and reintegration in family and community life. Artists are creating work that enriches the public...