Western societies are quickly becoming less coherent (Giddens, 1991). As a result it is increasingly unclear how individuals should act in a range of situations or how they may understand themselves. To a certain extent this development towards more diverse perspectives and a broader range of ways to act is a positive one, as cultures can only develop as they are confronted with different perspectives. A uniform culture would simply reach a standstill. That said, current society now demands of its citizens that they become increasingly self-reliant and by extension develop a capacity to be self-governing. On the labour market self-reliance and self-determination have been considered par for the course even longer. It is no surprise then that terms like self-direction, self-governing teams, employability and resilience are considered part of the standard repertoire of politicians and employers (Van der Heijden & De Vos, 2017). Within the social sciences, an ability to be self-governing and self-reliant are terms that are associated with the concept “agency”. However, the latter is a fairly vague, multidimensional concept (Arthur, 2014) that refers to the ‘scope of action’ an individual has in a fluid society (Bauman, 2000). In this article we would like to explore the concept of ‘agency’ further whereby we focus on the role of imagination in enacting it. https://doi.org/10.1177/1038416218777832 LinkedIn: https://www.linkedin.com/in/reinekke-lengelle-phd-767a4322/
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This article focuses on the role of the artistic process in connecting to the natural environment. In my research I have explored what participants experience and learn when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups. I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with ‘a new organ of perception’ (Goethe), in order to perceive ‘the more than human’ with fresh new eyes. This tradition can be traced back (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world. The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and ‘emergent properties’. The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a ‘self-sufficient, spiritually breathing subject’ (Kandinsky). The artwork can be spontaneously generative and multilayered with meanings, some of which may even be ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise, overwhelm him or her as ‘coming from behind one’s back’. The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here. These two orientations, when practiced as part of AEE, have implications on how we relate to nature through art. In the closing of this article I address the question of whether it is possible to bridge the dualism between the two orientations.
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