July 29, 2012
Continued from part 1,
this is the second article in the Artists Who Care series
So, the community has come up with an idea, and Milenko and his team are going to help them to realize it. In the first meeting, some people are excited about all the possibilities and the energy is high as the ideas fly around the room; there is also another group focusing on the practical considerations- the small budget, the planning restrictions, and the short time frame in which a lot has to be accomplished.
In a later phase, during the work on the project, the practical or ‘realist’ group will push to finish regardless of reaching the optimal solution; and the idealists will, ‘want to think forever before they decide to do anything’.
The tension that results from these conflicting approaches feels uncomfortable, and many people want to release it as soon as possible by choosing a quick solution.
Milenko says that the leadership in such situations needs to embody a kind of flexibility that supports both modalities.
‘As a student of creativity, I believe tension is a constant condition, we may temporarily resolve it, only to uncover a new tension.
It is always this dance between doing it fast and doing it thoughtfully; doing it with lots of people and still achieving excellence’.
He speaks about the tools they have developed over the years for dealing constructively with this dynamic.
First of all, the normal ground rules of meetings apply; ‘Listen, be respectful, and don’t hog the floor’.
Then, as a facilitator of the community’s vision, he goes further and asks people to consider these questions:
‘Are you willing to change your mind in view of new information someone else brings to the table?
Are you willing to turn your No into a Yes – if you don’t like something, are you willing to discipline yourself to come up with something better?’
When people are invited to participate under those conditions, the group dynamics improve, ‘they are capable of being considerate, creative, imaginative, and accomplishing great things in a short time’. The project moves forward.
The operating working philosophy in all these projects is ‘tough on ideas, gentle on people’:
‘Focus on the essence of what we can do together and don’t sweat the details. Let’s trust that the details will emerge from this fertile ground of lots of people who already know what they’re doing.’
I feel that this inherent trust and respect for the participants from the community is communicated from day one, and contributes greatly to the success of the projects.
Milenko sums up the deeper mission of his work this way:
‘ What we’re doing is collectively creating conditions where we can come togetheracross our differences and where we can be our best.’
Perhaps this describes a common journey being made by people in diverse fields who are using their expertise to find positive solutions to social problems.
This is what art can do, and what Milenko and his friends at Pomegranate Center are accomplishing with their community building creative work.
Art heals. This is not just an idealistic, abstract concept. In many communities crime, drug abuse, and violence have replaced the safety of close knit small neighborhoods.
If you then can observe, from close by, the pride people begin to take in their neighborhoods after a project is finished, and how they change from just people living there to involved members of a strong community; then we’re seeing art working effectively as a powerful tool for positive social change.
Stay tuned, In a few days, I’ll be posting the personal interview I had with Milenko and a slide show of some of Pomegranate’s recent projects.
July 22, 2012
I’ve had some time this summer to play with materials and do a small wall painting I’d been planning.
After painting all those flowers on harpsichords, I thought our home deserved a little bit of that decorative cheer. More on that further down.
First, though, here is a sheepy button I found at a textile fair: the little feet dangle free on tiny ropes.
Actually, I couldn’t resist making him wearable, so I made a brooch:
Next I decided to tackle two ugly oil stains on a favorite pair of workpants. Ok they are work pants, but still.
I’d bought a scarf for 50 cents at a rummage sale and cut out some designs from it. I sewed them on, wrong side up, which made the colours more muted and matched the faded trousers better.
And finally, there was a small, neglected bit of wall just inside our back door, outside the bathroom (WC for our UK readers). I’d been wanting to jazz it up for a long while.
This was done with tempera on wall paint, which worked like watercolours. I was ok with it when I stopped trying to get the deep rich colours of tempera on beautifully prepared sound board wood.
The work, by the way, was back-breaking, it took about 8 sittings, painting over parts several times where I didn’t like the curves.
I’ll choose a wall where I can stand and sit normally next time.
For photos of a mural I did years ago, on a slightly different scale, see below and click here .