By Lars Ebert
on behalf of the European Academy of Participation consortium.
This article reflects on 3 years of an Erasmus+ funded Strategic Partnership project on
participation in and through the arts, its network dynamics, key outcomes and its embeddedness
in a European policy context. It concludes with a brief outline of future activities.
This document about Participatory Art Practice and the respective graduate profile of a Creative Producer is intended as a reference document that reflects the diversity of the field in Europe and at the same time as a benchmark for curriculum builders, teachers, employers and all those academics and practitioners that want to enhance educational and practical offers. It wants to serve as a standard -as opposed to standardisation- and help enhance quality.
Nicole Colin, January 2016
Everyone demands participation these days: in politics, in corporate culture, in the arts. Some call for tangible participation rights, others demand a more active stance on the part of players whom circumstance has merged into communities. In general, the term ‘participation’ evokes consistently positive associations. There seems to be a general consensus that the anticipated results of participatory work forms are positive in any context. A closer look, however, reveals that participation works very differently in different areas. Therefore, this paper will attempt to critically explore the term ‘participation’ in the arts. Based on this analysis, it will elaborate a concept to a) refute common criticisms of participatory art, and b) define a precise range of forms to be addressed in the EAP project. A systematization of the issue at hand will also help develop the formal framework of the study module. Students are to acquire a rather broad knowledge of existing forms in order to then elaborate some specific forms (using examples).