Yes, I Do: An Artists' Community of Practice
| Title: | Yes, I Do: An Artists' Community of Practice |
|---|---|
| Language: | English |
| Authors: | Camacho, Carlos (ORCID |
| Source: | Studies in Art Education: A Journal of Issues and Research in Art Education. 2023 64(3):297-323. |
| Availability: | Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals |
| Peer Reviewed: | Y |
| Page Count: | 27 |
| Publication Date: | 2023 |
| Document Type: | Journal Articles Reports - Research |
| Descriptors: | Artists, Art Education, Communities of Practice, Educational Experience, Teaching Methods, Foreign Countries, Transformative Learning, Aesthetic Education |
| Geographic Terms: | Colombia |
| DOI: | 10.1080/00393541.2023.2220165 |
| ISSN: | 0039-3541 2325-8039 |
| Abstract: | After living in Cali, Colombia, and getting to know the culture and social life that takes shape around artistic practice, I started to wonder about the kinds of educational experiences that were developing outside of the formal curricula in visual arts educational institutions. I decided to address the artistic practice of a community of artists who share an educational space, an art scene and, ultimately, the same challenges regarding the learning spaces that emerged from the emotional bonds of collectivity. As I delved into their teaching spaces, I wanted to understand how the creation of knowledge, as a by-product of their interactions around the learning experience, provided transformative spaces that enrich meaning within this artistic milieu. In this way, we can understand the value of artistic practice and its close connection to the artistic piece and the resulting aesthetic experience, paying particular attention to research and production processes. |
| Abstractor: | As Provided |
| Entry Date: | 2023 |
| Accession Number: | EJ1400494 |
| Database: | ERIC |
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| FullText | Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHjPtM4BHU3ZchRwgzYmadcigk49r9CVlbU7V5F6lgH7WwHhgrcadSKMHajveDYhFPbvAAAA4TCB3gYJKoZIhvcNAQcGoIHQMIHNAgEAMIHHBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDCaY2_gV1rwWP954aAIBEICBmdGaDZJK-O7OtxWR-gW4T-1ylH06-R5fF4V4d-89-8HJwZjnFcFuzAISfYcloVFtdTNTcBLFm0QKZzGavmGZpaigSuru0d-qFyAPQz46uxweRG11SRsCA8UpArwD90KbT3DOx3gQTCkGsGHwgXu2SPVQHcq8La1006Az1svZJQgeDxTZvTgRe9d96PLvk3nDckZm32dPPLOfhQ== Text: Availability: 1 Value: <anid>AN0172025995;sae01jul.23;2023Sep21.06:22;v2.2.500</anid> <title id="AN0172025995-1">Yes, I Do: An Artists' Community of Practice </title> <sbt id="AN0172025995-2">Introduction</sbt> <p>After living in Cali, Colombia, and getting to know the culture and social life that takes shape around artistic practice, I started to wonder about the kinds of educational experiences that were developing outside of the formal curricula in visual arts educational institutions. I decided to address the artistic practice of a community of artists who share an educational space, an art scene and, ultimately, the same challenges regarding the learning spaces that emerged from the emotional bonds of collectivity. As I delved into their teaching spaces, I wanted to understand how the creation of knowledge, as a by-product of their interactions around the learning experience, provided transformative spaces that enrich meaning within this artistic milieu. In this way, we can understand the value of artistic practice and its close connection to the artistic piece and the resulting aesthetic experience, paying particular attention to research and production processes.</p> <p> <bold>After having lived for an extended period in the city of Cali, Colombia, and familiarizing myself with the culture and social life that take shape around artistic practice, I began to wonder about educational experiences being developed outside formal curricula in visual arts educational institutions.</bold> For this reason, I decided to address the artistic practice of a community of artists who share both an educational space and art scene, as well as the same challenges in regard to learning spaces that emerge from collective emotional bonds. This community has produced artistic events since 2005. As I delved into their learning spaces, I wanted to understand how the creation of knowledge as a by-product of their interactions around the learning experience provided transformative spaces that enrich meaning within this artistic milieu. In this way, we can understand the value of artistic practice, as well as its close connection to the artistic piece and the resulting aesthetic experience, by paying particular attention to the research and production processes within the limited space of a local artistic development.</p> <p>It is important to note that Cali, being one of the three most important cities in Colombia, has been the epicenter of many artistic practices. This is mentioned with the objective of discussing how artistic practices are produced when based on cultural referents, fusions, or stylistic contradictions. "Such contradictions naturally drew the attention of artists, such as Caicedo, a young writer and aspiring filmmaker with an obsession for macabre subjects, the stories of Edgar Allan Poe, and American horror films" (Faguet, [<reflink idref="bib2" id="ref1">2</reflink>], p. 63). This resulted in the configuration of a narrative genre now known as "El Gótico Tropical" (Tropical Gothic). The following example explains how artists in Cali have configured such artistic movements: It is important to understand the referents of other communities of artists in Cali, as they have lived the stories that define the cultural identity and diversity of Cali (Faguet, [<reflink idref="bib2" id="ref2">2</reflink>]). Another example of an artist that has engaged in discussion with the international art world is Antonio Caro. "Caro and the few other Colombian artists of the early 1970s who produced Conceptual art sought, as had Europe's historical avant-garde, to bridge the gap between art and life through radical new art forms" (McDaniel Tarver, [<reflink idref="bib10" id="ref3">10</reflink>], p. 730).</p> <p>Having these practices as a referent, Cali's artistic institutions gave birth to leading artistic figures, such as Doris Salcedo, Oscar Muñoz, and Rosemberg Sandoval, all of whom were acquainted with Antonio Caro's work and were inspired by his style.</p> <p>From his debut in 1970 on, the obvious differences between Caro's art and that of most of his compatriots—its lack of technical polish, its cheap media, and perhaps above all its reliance on text rather than image—led some Colombian art critics to condemn it as being too concerned with international fashion and out of touch with Colombian reality. (McDaniel Tarver, [<reflink idref="bib10" id="ref4">10</reflink>], p. 729)</p> <p>For this reason, Cali's tradition of contemporary art has been nourished by these artists who have taught at institutions like Instituto Universitario de Bellas Artes, or the Universidad del Valle. Many of the aforementioned artists have been in close contact with academia by giving lectures and creating cultural spaces that, even when not particularly active for long periods of time, have served to encourage the grouping of artists around the city's cultural happenings. In this way, I attempt to present the way in which artist communities in Cali have created spaces that allow artists' voices to be heard by reacting to social phenomena through art. This will be further explained when I discuss the work of a collective of artists called Helena Producciones, of which Wilson Díaz is a member.</p> <p>In a similar way, art students from Cali also formed a group around their shared interests of formalizing pieces and artistic experiences, in addition to sharing ways of negotiating the research, planning, reification, and exhibition of their pieces. Along the way, the students were constantly collecting anecdotes, discussing their doubts, and shaping their community of practice, all of which were aimed at developing learning experiences around participants in their community. They have gone on to manifest this in multiple art exhibitions within Colombia and abroad, in social spaces contiguous with those of their artistic practices, and in chance encounters that have enriched both their artistic practices and the learning experiences therein. All of this has contributed to strengthening the skills and competencies of the participants. This has enabled them to become socially active artists in a setting marked by low levels of social mobility within their particular field.</p> <p>I began examining how this group of artists can be defined, although not as an artist collective, because that term does not encompass the scope of their learning experiences and the transformation of what aesthetic experience can mean, but instead as an artists' community of practice, which addresses an epistemic valuation of learning experiences produced through their selfsame reification. This implies a certain comprehension of the history of artistic collectives formed around this community, and from which one they learned, while bearing in mind that newcomers bring new ideas and make artistic practices more dynamic (Wenger, [<reflink idref="bib16" id="ref5">16</reflink>]), and, in time, develop new projects and new organizations. An example of this is how many individuals find it impossible to name the community to which they belong, because these communities are dynamic and may have changed names over time: "<emph>El Camión</emph>," "<emph>Circular Presenta</emph>," "<emph>Sí, Acepto</emph>," or "<emph>Solteritas</emph>." Each community recognizes the temporary nature of the collectives. Within a community, collective denomination and practice are not solid and unchanging; they change according to circumstances linked to social life. Thus, the denomination of a collective comes into being because of specific projects with specific members, who, in turn, generate specific dynamics. For this, I compiled and analyzed narratives and evidence drawn from artistic pieces and the motivations of each participant. I discussed these with the artists and brought together testimony that illustrated forms of interaction surrounding a definition of community and practice. In this way, when given a project, the self-determined denomination of the members of a collective negotiated with the necessities of the contexts with which the artists were faced. This revealed interesting learning dynamics, which through the study of this community of artistic practice enabled me to understand how these artists created a space for learning among each other, which made their artistic practices more sophisticated.</p> <p>I must recognize that my interest in this case is related to my own artistic practice. Having shared production spaces in a peripheral way with this community, while sometimes participating in a more direct way and sharing spaces of social life, I was able to better understand what art is and what I must learn to practice art within a community that demands skills. I must admit, I did not actually study with the community members, and I have not belonged centrally to any groups that formed as a result; however, I have participated peripherally in many of the events. In fact, participating in this community, as well as in others, helped me understand art in a systemic way, and it allowed me to identify what skills I must develop according to my assigned role within the community. For this reason, I was able to identify different forms of artists grouping together, as well as different ways to develop skills. In addition, I learned how different learning spaces within communities of artistic practice can potentialize an artist's performance in producing pieces of art and aesthetic experiences.</p> <hd id="AN0172025995-3">Community, Practice, and Learning</hd> <p>While working alongside artists in the community, I developed learning experiences about production in spaces shared with other people, and the time we spent together motivated me to be more socially active within the local art world itself. As a result of these interactions, I became more interested in the learning dynamics of the communities, which went beyond evaluating a particular curriculum in a formal educational space. To highlight the social and negotiated nature of learning, "the concept of practice connotes doing, but not just doing in and of itself. It is doing in a historical and social context that gives structure and meaning to what we do" (Wenger, [<reflink idref="bib16" id="ref6">16</reflink>], p. 71). As such, it is worth addressing that the educational processes of this community of artists helped them develop models regarding their production that went beyond the formal educational space, which was evident in their self-managed exhibitions and other spaces for exchanging ideas and opinions about art. Traditional arts education only focuses on technical dimensions by addressing curricular demands that are centered on predesigned learning objectives. It does not focus on the opportunities for imagination and engagement (Farnsworth et al., [<reflink idref="bib3" id="ref7">3</reflink>]) as demonstrated by this community of practicing artists.</p> <p>As Farnsworth et al. ([<reflink idref="bib3" id="ref8">3</reflink>]) pointed out, this theory has been used in research across a wide variety of subjects, particularly within professional development for educators, inclusive education, vocational education, and gender studies. It is a theory that privileges an understanding of cultural phenomena, as well as the identities constructed through the practice of understanding educational phenomena. For example, "the practice of creating new forms of artistic expression, or the practices involved in solving climate problems, or the practices of school friends who are defining a shared identity in their school" (Farnsworth et al., [<reflink idref="bib3" id="ref9">3</reflink>], p. 140). A social theory does not obey its own narrative; rather, it is a conceptual framework for constructing a narrative based on the phenomena themselves (Farnsworth et al., [<reflink idref="bib3" id="ref10">3</reflink>]). This social learning theory proposes to analyze how communities that share interests build bodies of knowledge around their practice (Wenger, [<reflink idref="bib16" id="ref11">16</reflink>]). Thus, I analyzed both the practice and the community itself to describe how these artists constitute a community of practice.</p> <p>In early 2019, artists Lisseth Balcázar, Adrián Gaitán, David León, Andrés Osorio, and Sergio Zapata met in Cali to discuss and negotiate the type of artistic piece they would propose for the 45th National Artist Salon (SNA) that would be taking place in Colombia that year. Among beers and displays of affection, each artist expressed their ideas about what the piece should be like, as well as what subjects should be addressed. One group of artists added ideas, while another group subtracted them, dismissed them, or took up ways of addressing the aesthetic proposal of the project in light of their past artistic projects and ways of working. The artists were able to settle on a project that required a joint effort, and they created an immersive experience with an earthen tunnel visitors would walk through and a booth with water circulating from the roof. Through this process, the artists developed more sophisticated exhibition competencies while also negotiating their roles and ways of working.</p> <p>This intersection of artworks and learning experiences reveals the shared history of how an art community can refine its art–world competencies and aesthetic ambitions. The models for a shared history of learning experiences and artistic projects can be seen through the lens of the community of practice theory. This theory views learning as a cultural outcome within social interactions by determining how people form professional associations, and value what they have learned within a context (Wenger, [<reflink idref="bib16" id="ref12">16</reflink>]). Keeping this in mind, I set out to describe how a specific community of artists that formed in Cali was created with a different vision for artists' professional associations. Along the way, my work brought a complementary discourse to the social structures surrounding both the artistic and educational phenomena within this group, and revealed how artists learn in community (Figure 1).</p> <p>PHOTO (COLOR): Figure 1. Installing Sí, Acepto (Yes, I Do) at 45th SNA, Bogotá, 2019. Installation was carried out within the 45th SNA in Bogotá. The Colombian Ministry of Culture invited artists to intervene in a cultural space. They made a mud tunnel, emulating a mine, and inside they played children's songs.</p> <p>The scope of this article addresses the period when the community decided to participate in the 45th SNA, which took place from September 14 to November 4, 2019. The central members of the group included Balcázar, Gaitán, León, Osorio, and Zapata. To date, these artists continue to participate; however, through the history of this particular community there have also been additional participants, including Carolina Ruiz, Daniel Tejada, and Jimmy Villegas. However, it should be mentioned that these key members are from an earlier period, and their contributions to the history of these artistic-practice spaces are not immediately apparent. Similarly, many members have also participated in additional projects and worked actively or peripherally according to their availability or the competencies a project may have required.</p> <p>This document describes how these artists shaped a community of practice in relation to the aesthetic approaches and visual concepts they have built on since 2005. Likewise, I analyzed how they have strengthened their commitments by taking on individual and group objectives, as well as how they recognized competency repertoires. Finally, I address the practices this community built to analyze the meaning these practices gave to their overall learning experiences. For example, after meeting in Cali's Departmental Institute of Fine Arts,[<reflink idref="bib1" id="ref13">1</reflink>] they created artistic events in spaces such as their friends' houses, unoccupied commercial spaces, or the studios of other artists. Thus, these artists had garnered life experiences as students that went beyond what the educational institute had proposed. In addition, they had met people with shared aesthetic concerns and ways of reifying these concerns through actions and objects that echoed their own interests (Figure 2).</p> <p>PHOTO (COLOR): Figure 2. Artistic events have been held since 2005, in which the community invites artists to exhibit their most recent art pieces and discuss formal and conceptual elements of their work. Photo by Asueto International.</p> <p>The artists created interactions that intended to add an extra challenge to what the formal curriculum had proposed, thus indicating their commitment to learning with the objective of becoming full participants in a sociocultural practice, as discussed by Lave and Wenger ([<reflink idref="bib8" id="ref14">8</reflink>]). As such, these experiences became contextualized in a way that mirrors Lave and Wenger's concept of situated learning, which goes beyond the conventional notions of learning in situ or learning by doing. As these authors point out, "even so-called general knowledge only has power in specific circumstances" (2008, p. 33). When basic concepts are presented as decontextualized knowledge, the shared history of a community, and the meanings jointly negotiated by its members, are lost. This is why within their practice, Balcázar, Gaitán, León, Osorio, Zapata, and other participants of this community have found a way of learning through communal experiences.</p> <p>Naturally, "communities of practice are groups of people who share a concern, a set of problems, or a passion about a topic, and who deepen their knowledge and expertise in this area by interacting on an ongoing basis" (Wenger et al., [<reflink idref="bib17" id="ref15">17</reflink>], p. 4). However, this does not mean that a group or collective is a community of practice, nor does belonging to a community of practice strictly imply doing so within an employment context, or in regard to a specific project where hierarchies of power exist and concrete objectives need to be reached. Instead, <emph>community of practice</emph> is a theory of learning that can be applied to a variety of contexts where a learning environment is regulated by multiple tensions. The theory of communities of practice explores the tensions around individual and collective learning, and while taking a participant's given identity into consideration, "over time, [participants] develop a unique perspective on their topic as well as a body of common knowledge, practices, and approaches.... [T]hey may even develop a common sense of identity" (Wenger et al., [<reflink idref="bib17" id="ref16">17</reflink>], p. 5). In other words, this theory highlights the value we give to knowledge and the exercise of learning itself because, as learners, we value information and highlight the development of certain competencies over others according to our interests and memberships (Farnsworth et al., [<reflink idref="bib3" id="ref17">3</reflink>]). Consequently, communities of practice can be created in many social environments because valuing knowledge is key for community life when membership is voluntary (Wenger et al., [<reflink idref="bib17" id="ref18">17</reflink>]; Figure 3).</p> <p>PHOTO (COLOR): Figure 3. Regional Artist Salon. Piece of art named Lot (Lote), 2015. Artistic event held for the 15th regional salon of artists, commissioned by the Ministry of Culture of Colombia. Different artists from this community worked on this piece, exhibiting their individual and collective pieces in an abandoned lot in the city of Cali.</p> <p>As such, when Balcázar, Gaitán, León, Osorio, Zapata, and the previous members of this community decided to manage their artistic practice according to the social intersections friendships create in shared spaces, they made discussing and experimenting with aesthetic concepts an everyday aspect of their practice as artists. This provided spaces where artistic creation could dynamize their social interactions and vice versa. To create their own social bonds, as stipulated by their exchange of practices, this group of former students from Cali's Fine Arts Institute participated in exhibition spaces that they or other friends had created while establishing roles, managing agreements, setting deadlines, and evaluating aesthetic proposals.</p> <hd id="AN0172025995-4">Methodology</hd> <p>When observing a community with such a long and varied joint history, and one that is nourished by the construction of meanings around practice, a required methodology would complement this kind of research project. Because each aesthetic proposal by this community reflects the identity of its participants in relation to artistic production and the exercise of learning, a/r/tography would provide an enriching methodology because it "embraces proximity by understanding art making, researching, and teaching as living practices, and as relational encounters that are provocative, hesitant, and complicated" (La Jevic &amp; Springgay, [<reflink idref="bib7" id="ref19">7</reflink>], p. 72). This is closely related to the Aristotelian postulate that art provides a way of creating knowledge, which also implies learning by doing (Eisner, [<reflink idref="bib1" id="ref20">1</reflink>]).</p> <p>The histories that have shaped this community are closely tied to the identities constructed over time. A/r/tography values this identity component, as "it is an inquiry process that lingers in the liminal spaces inside and outside—the between—of an (artist) and r(researcher) and t(teacher)" (Springgay et al., [<reflink idref="bib15" id="ref21">15</reflink>], p. 84). Of course, the artists who belong to this community also pertain to other communities, collectives, and groups. They play the role of artists, researchers, and teachers, thus fomenting a variety of interactions within the community. It became necessary to examine some of these traits to delve into how they combine the educational experiences they developed in other settings. A/r/tography provides spaces for an epistemological analysis of the knowledge derived from art because it "employs all forms of qualitative research data collection (interviews, observations, document collection, field diaries, etc.), yet it also involves the processes of artistic engagement (creating art forms in response or collaboration, or as evocation or provocation)" (Irwin, [<reflink idref="bib5" id="ref22">5</reflink>], p. 42).</p> <p>It is worth noting that this group can be understood as a community of artists, but not as a collective. This is because the practices developed from each project was different, and the group's members have also changed. This creates a network of personal relations that are far richer when compared to those of an unchanging fixed group. The levels of involvement by the participants in some projects are irregular within this group, and the same is true for individuals who, not being in the core of a group, continue to contribute systematically to the production of artistic pieces and artistic events. This is how Wenger ([<reflink idref="bib16" id="ref23">16</reflink>]) defined a community. It is also worth mentioning that an objective of the current research is to uncover learning dynamics that are embedded in this constellation of artistic practices, regardless of their productive results. As a result, each of the projects I mention in this text will describe how the practices of the individuals within a group relate to the definition of what art actually is. I will also offer a discourse that is connected to the individuals' identities as artists, artistic researchers, and, in some cases, art professors. As Irwin et al. ([<reflink idref="bib6" id="ref24">6</reflink>]) mentioned, the rhizomatic connections that configure a practice connect the compromises made by different cultural actors. Once the knowledge of a given artistic community is recognized, one discovers: "[<reflink idref="bib1" id="ref25">1</reflink>] a commitment to a way of being in the world; (<reflink idref="bib2" id="ref26">2</reflink>) a commitment to inquiry; (<reflink idref="bib3" id="ref27">3</reflink>) a commitment to negotiating personal engagement within a community of belonging; and (<reflink idref="bib4" id="ref28">4</reflink>) a commitment to creating practices that trouble and address difference" (Irwin, [<reflink idref="bib5" id="ref29">5</reflink>], p. 42).</p> <p>Within the frame of the 45th SNA, I held a focus group[<reflink idref="bib2" id="ref30">2</reflink>] with artists Sergio Zapata, David León, Andrés Osorio, and Lisseth Balcázar. (Artist Adrián Gaitán, who had previously participated, was unable to join this focus group.) The members of the focus group delved into the configuration of the team by explaining how they became involved in this particular arts event. They also answered questions about their artistic project for the event and expressed their experiences in negotiating and researching their pieces. This was intended to establish an overview of their practices so we could explore the mutual commitment the artists forged as a community. Afterward, two individual interviews were conducted with each of the artists. The purpose of the first interview was to examine how the artists perceived their own practice within the community,[<reflink idref="bib3" id="ref31">3</reflink>] and the second interview was aimed at the conceptualization of the artistic practice[<reflink idref="bib4" id="ref32">4</reflink>] of each participant. All members of the community were interviewed on the same day, and each interview lasted approximately 15 to 20 minutes (with the exception of the interview with Adrián Gaitán who, for scheduling purposes, was interviewed on September 5). In addition, I analyzed the results of the reification of their practice or, in other words, the events and objects surrounding the practices of the community. This required each artist to share video and photography archives of the actions that took place from 2007 up to the time this research project was conducted. Between 2007 and 2017, the group participated in and held Los Asuetos;[<reflink idref="bib5" id="ref33">5</reflink>] created FOVEA[<reflink idref="bib6" id="ref34">6</reflink>] in 2013; hosted El Camión[<reflink idref="bib7" id="ref35">7</reflink>] from 2005 to 2009; performed as Solteritas[<reflink idref="bib8" id="ref36">8</reflink>] from 2005 to 2020; organized Circular Presents[<reflink idref="bib9" id="ref37">9</reflink>] from 2013 to 2017; participated in La Burra Al Trigo[<reflink idref="bib10" id="ref38">10</reflink>] in 2017; and finally, produced <emph>Sí, Acepto</emph> (<emph>Yes, I Do</emph>) for the 45th SNA in 2019. Each of these projects and art actions gave this community a name recognizable to the identities of its participants. For this research, I have framed my analysis within the time period in which this group referred to themselves as <emph>Sí, Acepto</emph>.</p> <p>The methodology of this project values the lived experiences surrounding the development of the community while providing a space for pedagogical investigation that encourages deeper inquiry into the ethical relationships between the participants (La Jevic &amp; Springgay, [<reflink idref="bib7" id="ref39">7</reflink>]). This created learning experiences within the group while developing ways of identifying with others; connecting practices; negotiating meanings; and finally, creating a community, because "what exists in the space between inside and outside is an unknown relationship between self and other, a relationship that is itself a community of understanding" (Springgay et al., [<reflink idref="bib15" id="ref40">15</reflink>], p. 83). For this reason it was necessary to reduce the distance between the research process and the object of study to comprehend creation, investigation, and art education through the same practice (Irwin, [<reflink idref="bib5" id="ref41">5</reflink>]; La Jevic &amp; Springgay, [<reflink idref="bib7" id="ref42">7</reflink>]). Dewey opened <emph>Art as Experience</emph> by arguing that the reification of art, through museums and the tyranny of structured academic disciplines, has separated art from the life experience that I believe it. Dewey wanted a stark aesthetic of life to heal this division and inveighed against "a separation of art from the objects and scenes of ordinary experience" (Siegesmund, [<reflink idref="bib14" id="ref43">14</reflink>], p. 100). This is why researching the practice of this artist community through a/r/topography provides a stage for resisting the idea of an educational model that seeks clearly defined, logical learning objectives, and predetermined results (Siegesmund, [<reflink idref="bib14" id="ref44">14</reflink>]).</p> <p>It is important to recognize that I did occasionally participate in teamwork with the artists in this group. This allowed me to delve into the analysis of certain events by examining the details of how participants negotiated the production of certain artistic spaces and what relevance this had for the identities of the participants, as well as gaining an appreciation of these events as relevant examples of how the educational experiences of the community are reinforced. It was also necessary to include events that were marginal to the artistic practice of a community (Springgay et al., [<reflink idref="bib15" id="ref45">15</reflink>]), because it is also important to consider how members join a community, and to examine the intersectional spaces between the repertoires of competencies they share in practice (Wenger, [<reflink idref="bib16" id="ref46">16</reflink>]). The concept of a/r/tography recognizes social learning theory as necessary for revealing tensions within learning practices (Springgay et al., [<reflink idref="bib15" id="ref47">15</reflink>]), and facilitating an analysis of how artists conceptualize their practices, and possible contradictions, within their own discourses.</p> <hd id="AN0172025995-5">A Community of Cali Artists</hd> <p>Defining what makes up a community is problematic if we only consider the physical components of an art collective. In general, art history has addressed the study of artistic phenomena from a materialist perspective by basing its analysis on the objects or actions produced as the result of a specific artistic project. Thus, this leads to the analysis of conceptual tensions, production concerns, and learning experiences of these groups. Surveying the social life of the artists within this group, and addressing their educational experiences, required analyzing the events that occurred within the creation of their pieces, and examining the value ascribed to participant commitments while understanding the goals that defined their practice. Because of this, there was an ongoing discussion about how to define a community grounded in artistic education. As Lawton ([<reflink idref="bib9" id="ref48">9</reflink>]) stated, "my colleagues and I define <emph>community-based art education</emph>, which is a learning experience and term particular to the field of art education, as 'education for [social] action with art as the medium for learning'" (p. 204). However, in this definition, art is a medium for learning, and in this case it is the inverse because the end goal of the practice is learning (Wenger, [<reflink idref="bib16" id="ref49">16</reflink>]), and art becomes the vehicle that binds the educational experiences together (Figure 4).</p> <p>PHOTO (COLOR): Figure 4. Sí, Acepto (Yes, I Do). 2022. Photograph of the confirmation of "Yes, I Do" at the beginning of 2022.</p> <p>In this case, the practice of creating art and events was the frame of reference in which participants developed their practice. This allowed social learning theory to include other social agents with professional associations in other disciplines connected to art as well as the social life of the artists. To analyze how this community was shaped, it was necessary to understand how its members exercised their artistic practice, because, first, their practice is what united participants in the community around the events that presented their concerns (Wenger, [<reflink idref="bib16" id="ref50">16</reflink>]; Wenger et al., [<reflink idref="bib17" id="ref51">17</reflink>]). Second, this should be viewed as a whole, because, as stated above, the concept of practice is not only defined by a specific task or action. For example, all actions taken by this community of artists when realizing their projects, such as defusing tensions that developed during the production of a piece, referring to the community as a marriage[<reflink idref="bib11" id="ref52">11</reflink>] to relax tensions, or formalizing an idea designed on a napkin,[<reflink idref="bib12" id="ref53">12</reflink>] all became part of the group's practice. This is where Wenger's ([<reflink idref="bib16" id="ref54">16</reflink>]) three essential elements for defining a community around practice—mutual commitment, joint enterprise, and a shared repertoire—can be applied. Lisseth Balcázar, Adrián Gaitán, David León, Andrés Osorio, and Sergio Zapata did have ongoing tensions about how to approach these elements within their community of practice. For example, the way in which Zapata narrates how the group dealt with the invitation to participate in the 45th SNA reveals how the community established priorities pertaining to an event:</p> <p>Yeah, you could say that this new stage of the project—of our work as a team—emerged from our invitation to the National [Artist Salon]. We were all a little scattered, like we were each paying a lot of attention to our personal stuff, but they invite us to play once a year, a benefit show, so we got back together again, like the Beatles, and we went along doing small stuff.[<reflink idref="bib13" id="ref55">13</reflink>]</p> <p>This is how the group addressed the invitation from the event curators and reunited to develop a proposal that became an intervention in the space for the Interdisciplinary Laboratory for the Arts (LIA). This project brought new challenges for the community because integrating their occupations with this extraordinary event forced them to reshape their social lives. Such was the case with Balcázar.[<reflink idref="bib14" id="ref56">14</reflink>] This example shows the mutual commitment the group established within the community, because "practice does not exist in the abstract.... It does not reside in a structure that precedes it, though it does not start in a historical vacuum.... Practice resides in a community of people and in the relations of mutual engagement by which they can do whatever they do" (Wenger, [<reflink idref="bib16" id="ref57">16</reflink>], p. 100). Thus, within the frame of the SNA, the artists were able to settle on an intervention that would affect the visitor's perception upon entering the LIA. In the exhibition curator's words,</p> <p> <emph>Yes, I Do</emph> was the first collective that arrived to build the tunnel. With the materials spread out between the entrance and the first hall—and the dirt that had already crept into everything, even the tables and chairs in the corner awaiting the general clean up that would happen a few days before the opening—they began to put together the ramp and the wooden structure. Later they covered it with mats to raise the walls and the roof, and later they coated it in mud to shape the cavern that would receive visitors after passing to the hall: a tenuously lit wattle-and-daub tunnel where children's songs playing on a loop became somewhat sinister. The smell and the humidity of the mud recalled a mine for some, and for others their parents or grandparents' house. When you reached the end, the darkness contrasted with the white, brightly lit warehouse of the LIA. Nearby, they set up a booth made of wood and recycled material, which stood a little over two meters high along the wall that divides the LIA warehouse in two. It acted as a hinge connecting the two halls, and it allowed visitors to see both spaces from a certain height. (Pineda E., [<reflink idref="bib13" id="ref58">13</reflink>]; Figure 5)</p> <p>PHOTO (COLOR): Figure 5. Installation for Sí, Acepto (Yes, I Do), 45th SNA Bogotá, 2019. Structure made of wood from the installation tunnel.</p> <p>Mutual commitment is socially constructed, and the mutual commitment expressed in the scale of their interventions was built up by the group through a shared history experienced by the artists in the planning and execution of their works. When asked about with whom they share the aesthetic assessment of their projects, Osorio stated, "Not only with this group, but we talk about that with all our friends on the corner down the hill—'let me tell you that we've been invited to the Salon'—mentioning this or that, and everyone has something to add."[<reflink idref="bib15" id="ref59">15</reflink>] The entire artistic community invigorates these works of art, and because communities are a way to create connections with the realities of interested parties (Lawton, [<reflink idref="bib9" id="ref60">9</reflink>]), this type of shared history invigorates the decision making among community participants. Thus, one of the first spaces for assessing artistic proposals involves marginal participants in the community, friends who have occasionally accompanied the artists at events, or friends who have directly participated in them. As previously stated, many artists in this community have had leading roles in certain projects, and they have had marginal engagement in others. In this way, mutual commitment is established by defining the engagement dynamics for the community (Wenger, [<reflink idref="bib16" id="ref61">16</reflink>]). This can be seen in the work dynamics around projects described by Balcázar:</p> <p>I think in the down time that we each have, that's where you get sucked into thinking about it. For example, I work at the government ministry and during my lunch hour I'm working on a drawing for [the project]. And it's like all of us at the same time, we call each other at night and it's like, "hey, let's go drink a beer," and you get there and, "hey, check it out, today I was thinking..." and we start to talk it over.[<reflink idref="bib16" id="ref62">16</reflink>]</p> <p>This is how the community learns to manage time in relation to the objectives they share with other communities without allowing the other communities to become direct rivals in the planning and execution of a new project. This is why the artists involved in this community had to be conscientious of the time they dedicated to their shared projects while actively contributing to discussions. In this way, identity was reinforced through engagement and recognition of the other as a trustworthy companion for certain actions without mediation by specifically assigned functions or concrete tasks. As Gaitán said, "It was like a different thing for us to be with our friends, working with people we wanted to be with and who care about each other. It was also a good time. It wasn't like killing ourselves doing something that would lead to us splitting up."[<reflink idref="bib17" id="ref63">17</reflink>] As such, their engagement is grounded in affect and in the recognition of a shared identity constructed within the community, thus demonstrating a commitment to the practice.</p> <p>The mutual commitment that defines this community is not merely a feeling of loyalty, nor is it knowing oneself and exchanging information, nor is it solely defined by geographic proximity (Wenger, [<reflink idref="bib16" id="ref64">16</reflink>]). Artist communities are a means of creating learning processes with others (Lawton, [<reflink idref="bib9" id="ref65">9</reflink>]); thus, mutual commitment is also contingent on a recognition of partiality and diversity, and posing questions about the role of each participant within the group. This is why it becomes necessary for a commitment to be tied to a shared repertoire when involving new participants. As such, constantly connecting new participants becomes a characteristic of communities that are concerned about invigorating the learning exercise, because "learners inevitably participate in communities of practitioners and... the mastery of knowledge and skill requires newcomers to move toward full participation in the sociocultural practices of a community" (Lave &amp; Wenger, [<reflink idref="bib8" id="ref66">8</reflink>], p. 29). In this way, although he had already participated marginally, Osorio eventually joined the community in a leading role and added his competence as part of the strategic practice for the <emph>Sí, Acepto</emph> project:</p> <p>Andrés had never been [part of it], but Andrés has worked a lot in production, and we thought, like, this time it was an architectural thing, and we thought, like, this guy could help us with that, and well, the guy is a friend of ours. So, we knew he could help us and that's it, that's more or less how it went.[<reflink idref="bib18" id="ref67">18</reflink>]</p> <p>However, to become part of the community, sharing social spaces is not enough. One must also possess demonstrable command over a set of competencies, and tie the shared interests of the participants to the practices (Nelson &amp; Cole, [<reflink idref="bib11" id="ref68">11</reflink>]). For example, Osorio described joining the community in the following way:</p> <p>With them there was the feeling, or <emph>sentimiento</emph>, of doing things that you intuit in this type of work.... When I started at Fine Arts [School], they were already leaving, graduating, and so we got to know each other through these different events... because, you could say, I never left the organization, the collective as such. Like, you always go to help and see what they're doing, and in that sense, it goes beyond a team—like a team for finishing things or for achieving something you participated in—and it became an experience.[<reflink idref="bib19" id="ref69">19</reflink>]</p> <p>This is how the resulting connections from an identity-based membership are influenced by the setting where this power acquires relevance (Nelson &amp; Cole, [<reflink idref="bib11" id="ref70">11</reflink>]). By recognizing the repertory shared among different participants within the community, a learning exercise is encouraged. As stated by Nelson and Cole, informal affinity in relation to the social life of artists generates meaningful sites of power, acknowledging a powerful learning network, which can occasionally be more powerful than the conventional dynamics of formal education. In 2022, some of the members of this community had yet to graduate, and others began their artistic production without finishing their studies. However, all participants configured a series of practices that were developed jointly from the specific assignments their universities required, which created additional educational experiences. This can be seen as León referred to the objective of his practice:</p> <p>It seems to me that, in the end, what we're working on has to do very much with the power to learn from our companions within the collective, to put myself in learning situations. That's something that I think most motivates me. It's what gives meaning to working in a collective.[<reflink idref="bib20" id="ref71">20</reflink>]</p> <p>Of course, this is further complemented by the recognition of the said repertoire when associated with whatever competencies the participants learned from each other. For example, these artists gained experience from León's formalized artistic proposals, Balcázar's skills for planning the production of artistic pieces, and from the meticulously detailed work of Gaitán. Additionally, the artists also learned from Osorio's work on projects utilizing soil and raw materials, and Zapata's effective art actions through production.[<reflink idref="bib21" id="ref72">21</reflink>] Clearly defined art actions concretize the practical contributions that each participant brings to the community; or, in other words, "the repertoire combines reificative and participative aspects" (Wenger, [<reflink idref="bib16" id="ref73">16</reflink>], p. 110).</p> <p>The participants' various objectives were bound together by an effort to establish a community through the negotiation of a dynamic joint enterprise. This enterprise reflects the complexity of the mutual commitment, defines the roles participants will play, and creates a mutual responsibility to regulate engagement (Wenger, [<reflink idref="bib16" id="ref74">16</reflink>]). This is how participation efforts are reified. In fact, these two terms—participation and reification—form an integral duality. Thus, the "integral duality they form is central to the theory and to its use of the concept of identity" (Farnsworth et al., [<reflink idref="bib3" id="ref75">3</reflink>], p. 146), which is why the result of engagement can be reified, but all the participants will negotiate the interpretation of the value of the reification (Wenger, [<reflink idref="bib16" id="ref76">16</reflink>]). In fact, as Zapata explained it, each member recognized what they learned from the experience and recognized what their companions achieved over the course of their productive experience. In their learning experiences, they sophisticated their competencies to improve results when producing further artistic pieces. In his own words:</p> <p>We always have inaugurations on time, on the day it's supposed to happen. In reality, it's really mellow because we know our own work. For example, with the leak what happened was, I let them suck on it with that leak for two weeks, because at one point, I had approached [Andrés] and Julián, who were the producers for the booth—Dude, why don't we do this and that—and dude, they left [my messages] on read, so they can eat s——t—do whatever you want—And what did I have to do two days before [the inauguration]? I had to go up there and take care of it because no one else could. So, like I said, I'm not going to fight about it—Zen master—the last day I was just... I was touchy.[<reflink idref="bib22" id="ref77">22</reflink>]</p> <p>This community of artists has shown a mutual commitment through the actions taken by participants to become full agents within it, thus affiliating themselves according to aspects of their identity, which are directed toward a negotiated joint enterprise, especially in regard to its value for what each member must do to belong to the community. Each person becomes connected to the community by showing their command of a particular practice. As Zapata explained, "You see, for me, collective work ends up being a... a blank check to be able to do things that I wouldn't normally be able to do in my individual work."[<reflink idref="bib23" id="ref78">23</reflink>]</p> <p>This required Zapata to change modes of production and establish relationships with other materials and techniques. As a result, when this artist community of practice comes together, it happens with the intention of constructing valuable learning experiences for its members by encouraging contextual and temporary participation that depends on the opportunities for research and creation that emerge and define the moment while connecting participants who have built their membership between spaces of artistic production and the spaces parallel to them, and taking on the social life of its members as an arena for testing the value of their practices. As such, the objective of the community goes beyond the production of specific events or artistic events validated by arts institutions. This community is not defined by the production of works of art; it is instead defined by spaces for the social life that surrounds them, because the learning that occurs in these spaces permeates the social structures of knowledge that gestate there. In this case, the joint enterprise shaped by these artists not only included artistic production, but also practice and the impact it made on the art scene.</p> <hd id="AN0172025995-6">The Practice of Art</hd> <p>Each member of this community of practice had learning experiences according to the competencies they learned while sharing the development of other skills that complement those competencies with other participants. Therefore, the community has been collecting stories about how participation in the community took shape. The community's practice can be understood through the parallel dimensions that shape relationships with new members and practices while forming a constellation of communities that create a panoramic reflection of the same practice and developing individually (Wenger, [<reflink idref="bib16" id="ref79">16</reflink>]). To understand the practice of this community, its history is addressed with the objective of revealing learning experiences that are generated over time. Gaitán spoke of the precedents for the formation of this community:</p> <p>Let's say... the first project that received moderate visibility was the one with the truck, and we did it halfway through our [undergraduate] studies, in 5th or 6th semester, because we needed to show our work. So, we thought about an autonomous platform, where we would have an individuality there, and we thought that we could bring our work to the events that had a broad public reach. And what we came up with was to present it in something mobile, so we decided on a truck, which had a space that could be made to look like a small room or gallery. We outfitted [the truck] and set up our work there.[<reflink idref="bib24" id="ref80">24</reflink>]</p> <p>Visitors to Cali's formal exhibition spaces came across an old truck where they saw works by these art students on the walls of its container. This action emerged from the need to be active in the Cali art scene, which presented additional challenges. The cultural infrastructure of the city lacks spaces that include projects by young local artists, which is why the exercise of learning they developed in the classroom of their university was not seen during the short exhibition. As Osorio explained, there is a "strong tendency to work together through self-management because there are no places and there is no support, so you always have to generate [collective projects] to be able to make the things you like."[<reflink idref="bib25" id="ref81">25</reflink>] Thus, the community began a learning process to confront a problem that goes beyond the proposals in the classroom. By doing so they inserted themselves in a social dynamic beyond the walls of the educational institute. In conventional approaches to learning, "learning as internalization is too easily construed as an unproblematic process of absorbing the given, as a matter of transmission and assimilation" (Lave &amp; Wenger, [<reflink idref="bib8" id="ref82">8</reflink>], p. 47), which leaves the nature of the student, their world, and their relationships unexplored.</p> <p>In this way, the participants within this community began posing additional challenges to themselves based on their own realities and confronting them in a context where they could develop. This allowed them to participate fully in the artistic, social life of the city. This could be seen when "there was, like, an idea of competing with each other, as well as competing with the professor, or of doing the classes ourselves. Like, if the professor was on the same level, that was cool, that they would be demanding, that they would put you under pressure. Well, it seemed really cool to me."[<reflink idref="bib26" id="ref83">26</reflink>] This led to the decision "to begin to show, to begin to go a little beyond say, the arena, into the field, and letting it become something that isn't just academic."[<reflink idref="bib27" id="ref84">27</reflink>] These attitudes regarding developing competencies are linked to the kind of practice the group exercised as a community, because "learning is not reified as an extraneous goal or as a special category of activity or membership" (Wenger, [<reflink idref="bib16" id="ref85">16</reflink>], p. 124). This can be seen in how the group formalized experiences in which they addressed the negotiation of the joint enterprise in relation to their individual identities. However, this does not mean that all events are learning experiences, because only meaningful learning can influence the dimensions of a practice by modeling our ability to participate in it (Wenger, [<reflink idref="bib16" id="ref86">16</reflink>]).</p> <p>Of course, what mobilizes the practice is the learning, and the practice is the history of this (Wenger, [<reflink idref="bib16" id="ref87">16</reflink>]), because each encounter with the other to negotiate what will be done regarding a piece or artistic event in this community shows a mutual commitment that reinforces the dynamics of engagement. Yet not all action should be seen as a formal learning experience. Over the course of time, this community has been competent when regarding the production of artworks and the shaping of high-functioning teamwork dynamics. They have built a knowledge of their own practice that acknowledges said history and encourages work dynamics around art and its production. Because "knowledge has become the key to success.... Companies need to understand precisely what knowledge will give them a competitive advantage" (Wenger et al., [<reflink idref="bib17" id="ref88">17</reflink>], p. 5) and, likewise, by studying the history of practice within their community, these artists have competently administrated the knowledge they have gained over the years, thus empowering the same practice. Zapata demonstrated this when discussing different roles within practices: "With Andrés, we complement each other in that sense. Before, I had to do it alone, in addition to being the accountant, and the treasurer. They are children, I was a responsible adult. Now its [<emph>sic</emph>] Lisseth who is the responsible adult."[<reflink idref="bib28" id="ref89">28</reflink>]</p> <p>The history of this community has been constructed around the projects of El Camión, Las Solteritas, Los Asuetos Internacionales, FOVEA, Circular Presents, La Burra al Trigo, and, most recently, <emph>Sí, Acepto</emph>. Having been formalized in different spaces with different participants who are marginal to the practice of this community, these heterogenous artistic projects show the negotiation of the joint enterprise that was constructed over the years. The artists involved in the same context as this community, and who shared social spaces with them beyond the classroom, have been able to connect to this community by enriching the practice, because "an essential aspect of any long-lasting practice is the arrival of new generations of members" (Wenger, [<reflink idref="bib16" id="ref90">16</reflink>], p. 129). Because art is a social event, the history of this community is made up of social artistic events and the people involved around said events, which is a fundamental part of the practice of this community (Lave &amp; Wenger, [<reflink idref="bib8" id="ref91">8</reflink>]). The social learning theory of communities of practice also proposes "that learning, thinking, and knowing are relations among people in activity in, with, and arising from the socially and culturally structured world" (Lave &amp; Wenger, [<reflink idref="bib8" id="ref92">8</reflink>], p. 51).</p> <p>In fact, for the El Camión project, many of the members of the collective learned how to work as a team to produce a piece of art that demanded the public's active involvement on a stage prepared by the artists. Also, the need to connect with the places the truck traveled, creating interinstitutional connections—whether formal or not—prepared the device in which the smaller pieces of art were transported. In addition, they selected the available spaces for the performance, and decided what would be set up on the said space, which caused the artists to develop negotiation skills for how to technically execute their ideas, and how to mediate among differing definitions of contemporary art (Figure 6).</p> <p>PHOTO (COLOR): Figure 6. Production and exhibition of the action titled El Camión took place between 2005 and 2010.</p> <p>Thanks to the marginal participants and the new members who join periodically, this community is not known by any particular name. As Sergio Zapata has said about the most recent project, <emph>Sí, Acepto</emph>:</p> <p>This new phase... in a way, we've had to work so much as a collective that we no longer feel that the collective has to be one thing. I mean, like one thing that is all encrypted, like "No, it's just us." Instead, there's that space for interacting with other people.[<reflink idref="bib29" id="ref93">29</reflink>]</p> <p>This shows how the practice is also defined by the identity of the community, which is reinforced according to the conceptual exercise of the participants within the practice itself, demonstrating that, in this case, they have a critical perception of their own development through the objective of shaping their practice. For this reason, it is worth mentioning that the term "collective," which has been used throughout this narrative, is based on a temporary and partial analysis of the artistic practice. Each one of the narratives constructed around a project, and based on the participants of said project, have used the term "collective" to refer to the temporary grouping that occurred at a given moment. It is for this reason that Zapata spoke about the different stages of his artistic practice.</p> <p>As a result, the history surrounding the artistic events of this community gave them a valued practice of learning with others, in light of the social value of the cultural knowledge provided by the historical context, which is why another sign of learning can be seen reflected in the negotiation of the meanings of other practices close to those of the community. As León stated,</p> <p>We began to do curation. They were really weird curations, because we started going where the artists we liked were, and, also, who we didn't know well or didn't have much relation to, and we made exhibitions and did research in a really intuitive way. Also, in the spirit of co-producing, also... but in that moment it was cool, because we met a lot of people, we were with a lot of people who were really motivated, and along those lines.... I'm saying that everything can change.[<reflink idref="bib30" id="ref94">30</reflink>]</p> <p>In this way, we can see how the practice of this community interacted with other communities by constructing a constellation of practices. Because it could harbor different practices within the same community, it connected itself with the practices of other communities (Wenger, [<reflink idref="bib16" id="ref95">16</reflink>]). This is where the Vygotskyan concept of the zone of proximal development becomes relevant, because "the social character of learning mostly consists in a small 'aura' of socialness that provides input for the process of internalization viewed as individualistic acquisition of the cultural given" (Lave &amp; Wenger, [<reflink idref="bib8" id="ref96">8</reflink>], p. 48). As such, the value this community grants to knowledge is based on the interactions they experienced with other participants from other communities: They evaluated aesthetic positions and artistic projects, and connected their community—both the participants and the practices they considered valuable—with the objective of mobilizing knowledge and developing new abilities and competencies.</p> <p>Of course, for this to happen, artists in the 1970s, such as Antonio Caro and Bernardo Salcedo, basing their works on the postulates of conceptual art, had to introduce the local scene to contemporary art practices (McDaniel Tarver, [<reflink idref="bib10" id="ref97">10</reflink>]). The exhibition of coarse works, with a predominant communicative exercise based on crude materials and raw finishes, stood in contrast to figurative drawing and the traditional concept of beauty, as in the case of Caro's work (McDaniel Tarver, [<reflink idref="bib10" id="ref98">10</reflink>]). Later, this allowed for processes that negotiate the formalization of pieces centered on a sophisticated language rather than on facture. The example set by these two artists led to a focus on the identity of artist communities for constructing political referents grounded in social events in proximal contexts, fomenting an exercise of resistance, as the Cali-born critic and curator Miguel González has shown (McDaniel Tarver, [<reflink idref="bib10" id="ref99">10</reflink>]). As such, the practice of this community of artists developed thanks to their connections with other communities and their histories, which led to the negotiation of their forms of engagement. Artists like Caro and critics like González have made it possible for this community to enrich their practice thanks to the said constellation enriching the history of the region (Figure 7).</p> <p>PHOTO (COLOR): Figure 7. Barra Brava de Artistas 7 mo Festival de Performance, 2008. Intervention at the Cali Performances Festival, in which various artists from the community gathered to emulate a soccer barra brava in the same vehicle with which they acted El Camión.</p> <p>One example of this participation was in the 7th Performance Art Festival of Cali, which took place in 2008. The Barra Brava de Artistas used the same vehicle with which they planned to do their exhibition on El Camión to perform a piece titled <emph>Hooligan Artists</emph>. In this community, Zapata's love of soccer was widely recognized, and it is well-known that for a time he belonged to a hooligan firm. For this performance, many people who had nothing to do with the El Camión project became actively involved. The artists' social life was what determined the production. Other students, artists, hooligans, and individuals coming from different spaces of social interaction participated and converged on a contemporary artistic stage that was more participative than contemplative.</p> <p>Of course, the artistic practice developed by this community is linked to the production of contemporary art, which has been vigorously developed in Cali. To address the history of this community, it is necessary to mention its connection to the constellation of communities within the same geographic context, the construction of a common language, as well as shared interests. This will aid in identifying the art-world connections the community intended to develop within its learning objectives. Because "in galleries: curators, audience groups, guards, senior management, and so on, form communities of practice" (Herne, [<reflink idref="bib4" id="ref100">4</reflink>], p. 2), the practice of this community is not distanced from other practices connected to the art world. These connected practices support, develop, and design the community's art projects, as can be seen through the participation in institutional events. However, this does not imply that communities of practice depend on formal institutions to validate their practice (Herne, [<reflink idref="bib4" id="ref101">4</reflink>]).</p> <p>The formation of other art communities and collectives in Cali provide a precedent for these connected practices, as in the case of Helena Producciones (Helena Productions), led by the artist Wilson Díaz, which created projects like the <emph>Escuela Móvil de Saberes y Práctica Social</emph> (Traveling School of Wisdom and Social Practice), curated projects like the 11th Regional Artist Salon, or the well-known Festival of Performance. This initiative was born because</p> <p>the pessimism that motivated Díaz and a group of like-minded art professors and recent art school graduates to actively contribute to bettering the cultural landscape of Cali was premised upon a nostalgia for the city's golden age—the 1970s—when an incredibly vital artistic community had emerged, transforming this small peripheral city into an important cultural center. (Faguet, [<reflink idref="bib2" id="ref102">2</reflink>], p. 63)</p> <p>Here, the shared histories between the constellation of communities can be seen because the context has determined the type of practice the artists developed. Likewise, younger artists like Balcázar, Gaitán, León, Osorio, and Zapata have constructed similar motivations. In addition, collectives like Helena Producciones have produced events involving young Cali artists, which has given them an opportunity to participate in the social life of art and to develop competencies for proposing, producing, and exhibiting the artistic results of their practices, because "the festival's structure encourages artists to engage critically with the local context, and the opportunity to create interventions in public spaces has led to diverse performances" (Faguet, [<reflink idref="bib2" id="ref103">2</reflink>], p. 66). This is why, in 2008, this community participated with La Barra Brava de Artistas within the framework of the 7th Festival of Performance. This type of event allowed them to travel to other parts of the world, to exhibit their artistic works, and exchange visions on what is considered contemporary art.</p> <p>Consequently, the practice of this community has been defined by the context that motivated them to interact within the limitations of their local artistic environment, thus transforming their reflections into learning experiences without losing the social mobility of their own practice. This is how they defined competencies among their members, in regard to professional and social connections they developed in making their projects visible, and connecting marginal participants in a parallel way, while learning ways to interact with the environment itself. Likewise, their reifications shown in the artistic events have presented additional challenges and called attention to other cultural agents who have contributed to their development and shaping of a constellation of practices. In addition, said constellations have created languages for understanding contemporary art through the aesthetic precedents that influenced the production of their conceptual art. As a result, the participants in this community have understood and built a common language based on the command of their practice.</p> <hd id="AN0172025995-7">How Is Learning Conceived?</hd> <p>In conclusion, describing the formation and experiences of this community of artists, with the goal of delving into the educational phenomena derived from the consolidation of the community, has revealed some tensions in how Balcázar, Gaitán, León, Osorio, and Zapata developed a practice distinguished by learning, professional development, and experiences of community development via the social lives that affected their practice. Through social connections they generated with people who create histories, they have been able to create meaningful experiences that continuously sophisticated their understanding of art, and the transformation of their surroundings based on their own projects that contributed to a local scene.</p> <p>It is also worth noting how differently they each connected with other individuals to potentialize community learning processes. Through interaction with other artists, such as Jimmy Villegas, Luis Tobón, Daniel Tejada, and Carolina Ruiz, some of their shortcomings in terms of the specialized work required for art in a larger city were improved. Learning about artistic montage, event communications, spatial adequations, and other peripheral activities is necessary for the whole artistic system to grow, and for artists to become professionals. Added to this was the fluctuating nature of these participations: Balcázar participates now but then quits; others, like Osorio, arrive, and there is a reencounter due to the fickle nature of day-to-day life that impedes participation on a regular basis. It is through acknowledging the volatile nature of artistic productive forces that learning about social dynamics becomes particularly relevant, especially in a precarious environment for artistic creation like the one in Cali.</p> <p>In general, a defined group of artists, such as a collective, finds a place within the configuration of a cultural ecosystem or a local art scene where there are art galleries, art merchants, specialized press, or some other apparatus for the diffusion of cultural events. There are also producers, chains of custody for the safekeeping of works of art, and economic and political resources that make the artistic practice more dynamic. However, in an environment where all these elements are scarce, the artists are forced to create their own learning spaces to acquire the skills, strategies, and tools necessary to fill all the necessary roles that are necessary for art to survive. For this reason, many people converge around practices that mobilize knowledge and combine it with experience, assigning roles as need arises.</p> <p>Thus, this group of artists should be understood as a collective. The nature of engagement and the combined effort to reach a joint enterprise characterizes them as a community that emerged from a traditional classroom to become a space for learning among peers. With this in mind, a particular challenge to artistic education emerges. Curriculum should perhaps analyze how students can be or are socially active in an art scene, especially because the scene transforms through the learning experiences of its students and future graduates. To that end, curricula should also recognize how students can form communities around their own learning challenges by motivating the formation of their own professional associations for impacting real scenarios without disregarding the way groups form according to the character and goals of each participant. In addition, fomenting these kinds of professional associations should not be exclusive to a particular area, but instead be transversal to the entire curriculum while integrating recognition of other artist communities in the classroom, along with a sophistication of different abilities that constitute an artistic practice.</p> <p>Because each of the activities proposed by teachers involved in the curricular development can be planned concertedly, promoting meetings in spaces outside the classroom, which connect efforts of other institutions such as the university, museums, galleries, cultural centers, and community or grassroots organizations, should be part of the planning. This will link students while encouraging experimentation and community involvement by connecting democratic concepts and civil responsibility (Lawton, [<reflink idref="bib9" id="ref104">9</reflink>]). Through the development of tastes beyond their own prejudices, and being evaluated by an early public, similar to what this community has done, steps can be taken to reach scenarios of educational innovation involving so-called active methodologies that start from sociocritical paradigms, which is also what communities of practice propose.</p> <p>Consequently, analyzing the value of learning for communities like these can provide concrete ideas about how the phenomenon of education happens in a social setting. This goes beyond the classroom and involves dynamics particular to a discipline-specific setting. Participation by those involved in a community is voluntary, and it is often unclear how or why the participants become involved in a certain practice. Clarity about their engagement emerges when participants are able to share joint histories, which can provide personal meaning regarding the production of knowledge. Likewise, what we can identify as knowledge is reflected both in the formalization of artistic pieces and aesthetic experiences, as well as in the interaction between participants. This demonstrates a historical value that can be investigated while highlighting the value of what is resolved in the quotidian, thus evincing common problems in the art world. This community identified problems that affected their interests and, as a result, the community produced abilities that resulted in a practical knowledge for addressing the vicissitudes of the art world, which include a lack of exhibition spaces, a small number of academic events, lack of financial and marketing support, as well as limited communication between the visual arts and other disciplines within Cali.</p> <p>In addition, addressing the value of the art pieces produced under participation contexts, whether in communities like these or collectives and associations, and connecting them with social scenarios enriches the overall educational experience, because it potentiates the meeting spaces and juxtaposition between art and subjectivity, promoting a productive exchange of meanings (Lave &amp; Wenger, [<reflink idref="bib8" id="ref105">8</reflink>]) and fostering the creative and imaginative connections typical of artistic production (Pinar, [<reflink idref="bib12" id="ref106">12</reflink>]). In this way, the conjunction between artists, researchers, and teachers connect with a more holistic, inclusive, and transformative approach to arts education, giving students, community participants, and teachers possibilities for transformation (Lawton, [<reflink idref="bib9" id="ref107">9</reflink>]).</p> <p>Surely this community has demonstrated constitutive elements of a community of practice: mutual commitment, the constant negotiation of meanings within their reification processes, the constant enrollment of new members, the command over particular practices, the possibility of creating professional associations with the reification of learning from others, encouraging contextual and temporary participation, learning from the context, and thus forming a joint enterprise. This is why the history of art should recognize the social phenomena that surrounds learning to construct a narrative, not only around art pieces, but also the aesthetic and learning experiences that have made the research and production of these pieces possible. In this way, each artist or art movement should learn something regarding their context and transform their respective artistic scenes by learning through practice and teaching through sharing. The artistic practice developed by this type of community revolves around related aesthetic influences and the formalization of these influences, which allows for the negotiation of meanings of what they consider art to be, and rethinking shared histories that are rich in aesthetic referents.</p> <p>As a final thought, it would be worthwhile to investigate the educational phenomena in other artist communities. This would provide a concrete overview of the abilities that developed in response to problems posed by particular contexts. As a result, we have a better understanding of the aesthetic and historical values not only of their artistic pieces, but also their practices and how these practices have transformed the settings in which artists are involved, as well as the social value of art and the efforts surrounding it (Figure 8).</p> <p>PHOTO (COLOR): Figure 8. Sí, Acepto, 2019. Installation. 45 SNA Bogotá. Pieces completed for the 45th National Salon of Artists, presented at the LIA space, Interdisciplinary Arts Laboratory, in Bogotá.</p> <hd id="AN0172025995-8">Acknowledgment</hd> <p>Carlos Camacho is now an independent researcher with many contracts by different universities in Bogotá, Colombia.</p> <hd id="AN0172025995-9">Disclosure Statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0172025995-10"> <title> References </title> <blist> <bibl id="bib1" idref="ref13" type="bt">1</bibl> <bibtext> Eisner, E. (2008). Art and knowledge. In J. G. Knowles &amp; A. L. 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Productive creative writers' relationships: A communities-of-practice framework. New Writing, 9 (3), 396 – 407. https://doi.org/10.1080/14790726.2012.693095</bibtext> </blist> <blist> <bibtext> Pinar, W. F. (2014). Curriculum e imaginación: Sobre la educación estética de Maxine Greene. In La teoría del currículo (pp. 124 – 135). Narcea Ediciones.</bibtext> </blist> <blist> <bibtext> Pineda E., A. M. (2019). Mitopía. El revés de la trama. In La Imprenta Editores SA (Ed.), 45 Salón Nacional de Artistas. El revés de la trama (1st ed., p. 450). Ministerio de Cultura. https://45sna.com/wp-content/uploads/2020/01/Catálogo45SNA_compressed.pdf</bibtext> </blist> <blist> <bibtext> Siegesmund, R. (2012). Dewey through a/r/tography. Visual Arts Research, 38 (2), 99 – 109. https://doi.org/10.5406/visuartsrese.38.2.0099</bibtext> </blist> <blist> <bibtext> Springgay, S., Irwin, R. L., &amp; Kind, S. (2008). A/r/tographers and living inquiry. In J. G. Knowles &amp; A. L. Cole (Eds.), Handbook of the arts in qualitative research: Perspectives, methodologies, examples, and issues (pp. 83 – 91). SAGE.</bibtext> </blist> <blist> <bibtext> Wenger, E. (2001). Comunidades de práctica (P. I. SA, Ed.). Paidos.</bibtext> </blist> <blist> <bibtext> Wenger, E., McDermott, R., &amp; Snyder, W. M. (2002). Cultivating communities of practice: A guide to managing knowledge. Harvard Business School Press.</bibtext> </blist> </ref> <ref id="AN0172025995-11"> <title> Footnotes </title> <blist> <bibtext> Bellas Artes is the university in Cali from which this community of artists graduated from their professional career.</bibtext> </blist> <blist> <bibtext> Focus group held February 16, 2019, in Bogotá, Colombia, with the artists united under the title <emph>Sí, Acepto</emph>.</bibtext> </blist> <blist> <bibtext> Individual interview held September 2, 2019, in Bogotá, Colombia, with individual artists from the community Sí, Acepto.</bibtext> </blist> <blist> <bibtext> Individual interview held September 18, 2019, in Bogotá, Colombia, with individual artists from the community Sí, Acepto.</bibtext> </blist> <blist> <bibtext> Los Asuetos [The Days Off] were inaugurations for private exhibitions organized by the community in 2007, 2008, 2009, and 2017.</bibtext> </blist> <blist> <bibtext> FOVEA is an exhibition project created by the community in 2013.</bibtext> </blist> <blist> <bibtext> El Camión [The Truck] was a mobile art exhibition that was continuously active from 2005 to 2009.</bibtext> </blist> <blist> <bibtext> Solteritas [Little Single Ladies] is a punk band that formed in 2005.</bibtext> </blist> <blist> <bibtext> Circular Presents was a cultural management project that curated and exhibited artistic projects by local artists from 2013 to 2018.</bibtext> </blist> <blist> <bibtext> La Burra Al Trigo [The Donkey to the Wheat] was an artistic project that took place in 2017.</bibtext> </blist> <blist> <bibtext> Sergio Zapata. Focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> David León. Focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Sergio Zapata. Account from the focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Lisseth Balcázar. Focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Andrés Osorio. Account from the focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Lisseth Balcázar. Account from the focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Adrián Gaitán. Individual interview held on September 5, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Adrián Gaitán. Individual interview held on September 5, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Andrés Osorio. Individual interview held on September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> David León. Individual interview held on September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Focus group held on September 16, 2019. Community of <emph>Yes, I Do</emph> (<emph>Sí, Acepto</emph>).</bibtext> </blist> <blist> <bibtext> Sergio Zapata. Account from the focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Sergio Zapata. Individual interview held September 18, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Adrián Gaitán. Individual interview on September 5, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Andrés Osorio. Individual interview held on September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> David León. Individual interview held on September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Lisseth Balcázar. Individual interview held on September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Sergio Zapata. Individual interview held on September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> Sergio Zapata. Account from the focus group held on February 16, 2019, in Bogotá, Colombia.</bibtext> </blist> <blist> <bibtext> David León. Individual interview held September 2, 2019, in Bogotá, Colombia.</bibtext> </blist> </ref> <aug> <p>By Carlos Camacho</p> <p>Reported by Author</p> </aug> <nolink nlid="nl1" bibid="bib10" firstref="ref3"></nolink> <nolink nlid="nl2" bibid="bib16" firstref="ref5"></nolink> <nolink nlid="nl3" bibid="bib17" firstref="ref15"></nolink> <nolink nlid="nl4" bibid="bib15" firstref="ref21"></nolink> <nolink nlid="nl5" bibid="bib14" firstref="ref43"></nolink> <nolink nlid="nl6" bibid="bib11" firstref="ref52"></nolink> <nolink nlid="nl7" bibid="bib12" firstref="ref53"></nolink> <nolink nlid="nl8" bibid="bib13" firstref="ref55"></nolink> <nolink nlid="nl9" bibid="bib18" firstref="ref67"></nolink> <nolink nlid="nl10" bibid="bib19" firstref="ref69"></nolink> <nolink nlid="nl11" bibid="bib20" firstref="ref71"></nolink> <nolink nlid="nl12" bibid="bib21" firstref="ref72"></nolink> <nolink nlid="nl13" bibid="bib22" firstref="ref77"></nolink> <nolink nlid="nl14" bibid="bib23" firstref="ref78"></nolink> <nolink nlid="nl15" bibid="bib24" firstref="ref80"></nolink> <nolink nlid="nl16" bibid="bib25" firstref="ref81"></nolink> <nolink nlid="nl17" bibid="bib26" firstref="ref83"></nolink> <nolink nlid="nl18" bibid="bib27" firstref="ref84"></nolink> <nolink nlid="nl19" bibid="bib28" firstref="ref89"></nolink> <nolink nlid="nl20" bibid="bib29" firstref="ref93"></nolink> <nolink nlid="nl21" bibid="bib30" firstref="ref94"></nolink> CustomLinks: – Url: https://resolver.ebsco.com/c/xy5jbn/result?sid=EBSCO:eric&genre=article&issn=00393541&ISBN=&volume=64&issue=3&date=20230101&spage=297&pages=297-323&title=Studies in Art Education: A Journal of Issues and Research in Art Education&atitle=Yes%2C%20I%20Do%3A%20An%20Artists%27%20Community%20of%20Practice&aulast=Camacho%2C%20Carlos&id=DOI:10.1080/00393541.2023.2220165 Name: Full Text Finder (for New FTF UI) (s8985755) Category: fullText Text: Find It @ SCU Libraries MouseOverText: Find It @ SCU Libraries |
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