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Environmental Art as an Innovative Medium for Environmental Education in Biosphere Reserves

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Title: Environmental Art as an Innovative Medium for Environmental Education in Biosphere Reserves
Language: English
Authors: Marks, M., Chandler, L., Baldwin, C.
Source: Environmental Education Research. 2017 23(9):1307-1321.
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: 15
Publication Date: 2017
Document Type: Journal Articles
Reports - Research
Descriptors: Sustainability, Sustainable Development, Art Activities, Documentation, Questionnaires, Observation, Semi Structured Interviews, Educational Methods, Natural Resources, Environmental Education, Case Studies, Foreign Countries, Artists
Geographic Terms: Australia, United Kingdom (England)
DOI: 10.1080/13504622.2016.1214864
ISSN: 1350-4622
Abstract: A key goal of Biosphere Reserves (BR) is to foster environmental education for sustainable development. In this study we systematically analyse two cases in which environmental art is used as a mechanism to engage communities in "building environmental understanding", in Noosa BR in Australia and North Devon BR in the United Kingdom. Data were derived through document analyses, site visits, questionnaires and semi-structured interviews conducted with the audience, artists, and residents. The study concludes that environmental art can build understanding through (1) exchanging ideas and providing dialogue (2) building a sense of place (3) clarifying and enhancing the understanding of information and issues, and (4) generating concern. Consequently environmental art should be considered an innovative addition to the suite of environmental education tools used in other BRs and community organisations that aim to educate about the environment.
Abstractor: As Provided
Number of References: 58
Entry Date: 2017
Accession Number: EJ1153820
Database: ERIC
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  Value: <anid>AN0125034943;eed01oct.17;2019Feb20.14:23;v2.2.500</anid> <title id="AN0125034943-1">Environmental art as an innovative medium for environmental education in Biosphere Reserves. </title> <p>A key goal of Biosphere Reserves (BR) is to foster environmental education for sustainable development. In this study we systematically analyse two cases in which environmental art is used as a mechanism to engage communities in 'building environmental understanding', in Noosa BR in Australia and North Devon BR in the United Kingdom. Data were derived through document analyses, site visits, questionnaires and semi-structured interviews conducted with the audience, artists, and residents. The study concludes that environmental art can build understanding through (<reflink idref="bib1" id="ref1">1</reflink>) exchanging ideas and providing dialogue (<reflink idref="bib2" id="ref2">2</reflink>) building a sense of place (<reflink idref="bib3" id="ref3">3</reflink>) clarifying and enhancing the understanding of information and issues, and (<reflink idref="bib4" id="ref4">4</reflink>) generating concern. Consequently environmental art should be considered an innovative addition to the suite of environmental education tools used in other BRs and community organisations that aim to educate about the environment.</p> <p>Keywords: Environmental education; environmental art; Biosphere Reserve; environmental understanding; sense of place</p> <hd id="AN0125034943-2">Introduction</hd> <p>One of the goals of UNESCO-endorsed Biosphere Reserves (BRs) is to foster environmental education (UNESCO [<reflink idref="bib50" id="ref5">50</reflink>]). Some of the main approaches for environmental education in BRs have been through community-based environmental monitoring, teaching about local environment, and partnerships in learning and research (Pujadas and Castillo [<reflink idref="bib38" id="ref6">38</reflink>]; Reed and Massie [<reflink idref="bib41" id="ref7">41</reflink>]; Reed et al. [<reflink idref="bib40" id="ref8">40</reflink>]; Schultz and Lundholm [<reflink idref="bib43" id="ref9">43</reflink>]), yet environmental education can be conducted in other diverse ways and through a range of methods (Monroe, Andrews, and Biedenweg [<reflink idref="bib31" id="ref10">31</reflink>]). In this paper, we examine how environmental art has been used in two BRs at opposite sides of the world to imaginatively realise their environmental education goals. Through an examination of multiple environmental art initiatives at Noosa (Australia) and North Devon (UK) BRs, we show how artists working in collaboration with scientists, ecologists and educators can contribute to building environmental understanding in communities. We use Monroe, Andrews, and Biedenweg's ([<reflink idref="bib31" id="ref11">31</reflink>]) environmental education framework to systematically analyse case study data derived from questionnaires, interviews, and document analyses to show environmental art's contribution to one environmental education intervention suggested by them, that of 'building understanding'. Specifically exploring the Noosa and North Devon BR initiatives, we discuss how environmental art responds to the goals of this intervention to: encourage idea exchange and dialogue, build a sense of place, clarify and enhance the understanding of information and issues, and generate concern (Monroe, Andrews, and Biedenweg [<reflink idref="bib31" id="ref12">31</reflink>]). We discuss environmental art as an innovative format useful to BRs, and other community organisations, for contributing to environmental awareness and supporting environmental education.</p> <hd id="AN0125034943-3">Biosphere Reserves and environmental education</hd> <p>Operating within UNESCO's Man and the Biosphere (MAB) Programme, the BR initiative was launched in 1976 and is now represented by 631 BRs in 119 countries (UNESCO [<reflink idref="bib52" id="ref13">52</reflink>]). By definition, BRs encompass significant ecosystems and communities of stakeholders that work to balance biodiversity conservation and sustainable use (UNESCO [<reflink idref="bib53" id="ref14">53</reflink>]). The difference between the BR program and other environmental programs is its focus on human involvement with nature. The program aims to 'reconcile conservation of biodiversity, the quest for economic and social development and the maintenance of associated cultural values' (UNESCO [<reflink idref="bib50" id="ref15">50</reflink>], 1) by acting as 'living laboratories' that provide demonstration sites to share knowledge and create environmentally-themed discussion and programs (UNESCO [<reflink idref="bib53" id="ref16">53</reflink>]). The importance of environmental education in BRs is specifically emphasised in the framing document, <emph>The Seville Strategy</emph> (UNESCO [<reflink idref="bib50" id="ref17">50</reflink>]), as BRs seek to 'promote the exchange and transfer of knowledge on environmental problems and solutions, and to foster environmental education for sustainable development' (UNESCO [<reflink idref="bib51" id="ref18">51</reflink>]). UNESCO ([<reflink idref="bib49" id="ref19">49</reflink>], 6) refers to environmental education as a:</p> <p>... process in which individuals and the community gain awareness of their environment and acquire the knowledge, values, skills, experiences and also the determination which will enable them to act – individually and collectively – to solve present and future environmental problems.</p> <p>The BRs we examine demonstrate ways in which environmental art can be used to engage communities in raising awareness of their environment.</p> <p>A global survey of BRs affirmed their value as 'potential learning sites', providing 'platforms for mutual and collective learning', but stated that many did not take advantage of this function (Schultz and Lundholm [<reflink idref="bib43" id="ref20">43</reflink>], 645–647). To date, reviews and academic research about BRs have focussed primarily on governance aspects such as place based-governance (Edge and McAllister [<reflink idref="bib14" id="ref21">14</reflink>]), management performance (Schultz, Duit, and Folke [<reflink idref="bib42" id="ref22">42</reflink>]), and evaluating effectiveness of management in fulfilling biosphere objectives (Reed and Egunyu [<reflink idref="bib39" id="ref23">39</reflink>]). Other areas researched have included the loss of opportunities due to lack of recognition of Biosphere Reserve status (Mercer and Hyman [<reflink idref="bib30" id="ref24">30</reflink>]), ecotourism (Kent, Sinclair, and Diduck [<reflink idref="bib21" id="ref25">21</reflink>]; Maikhuri et al. [<reflink idref="bib26" id="ref26">26</reflink>]), and a few articles referring to environmental education through community-based environmental monitoring and partnerships in learning and research (Pujadas and Castillo [<reflink idref="bib38" id="ref27">38</reflink>]; Reed and Massie [<reflink idref="bib41" id="ref28">41</reflink>]; Reed et al. [<reflink idref="bib40" id="ref29">40</reflink>]; Schultz and Lundholm [<reflink idref="bib43" id="ref30">43</reflink>]). With the exception of the Biosphere Soundscapes project (Biosphere Soundscapes [<reflink idref="bib2" id="ref31">2</reflink>]), we have not found any documentation or evidence of environmental art being used to encourage environmental awareness and skills in BRs other than in Noosa BR and North Devon BR. This point of difference is the rationale for selecting these two BRs as case studies for examining this approach to environmental education.</p> <hd id="AN0125034943-4">Environmental art</hd> <p>Environmental art is a diverse field of creative practice that includes works that aim to engender an appreciation of nature, as well as works that 'employ nature as a medium' (Spaid [<reflink idref="bib46" id="ref32">46</reflink>]). It primarily involves art created with the intention of drawing attention to nature and raising awareness of environmental issues (Brown [<reflink idref="bib3" id="ref33">3</reflink>]; Gablik [<reflink idref="bib15" id="ref34">15</reflink>]; Kastner and Wallis [<reflink idref="bib20" id="ref35">20</reflink>]; Lippard [<reflink idref="bib24" id="ref36">24</reflink>]; Matilsky [<reflink idref="bib29" id="ref37">29</reflink>]; Wallen [<reflink idref="bib54" id="ref38">54</reflink>]; Weintraub [<reflink idref="bib55" id="ref39">55</reflink>]). Environmental art can be permanent or ephemeral and created in any format such as sculpture, photography, multimedia or performance. When it is located in a specific environment it can highlight 'the "special" qualities of place embedded in everyday life' (Lippard [<reflink idref="bib24" id="ref40">24</reflink>], 37).</p> <p>Contemporary environmental art works often convey a notion of the world as 'a place of interaction and connection' (Gablik [<reflink idref="bib15" id="ref41">15</reflink>], 150, 151). Ecological or eco-art is a sub-genre of environmental art that focuses specifically on the inter-relationships between humans and nature. It is underpinned by ecological perspectives and explores the dynamics between humans and the environment as interconnected systems (Wallen [<reflink idref="bib54" id="ref42">54</reflink>]). It often has an activist intent, emphasising process, cross-disciplinary collaboration and community engagement processes rather than a final art object (Spaid [<reflink idref="bib46" id="ref43">46</reflink>]; Wallen [<reflink idref="bib54" id="ref44">54</reflink>]; Weintraub [<reflink idref="bib55" id="ref45">55</reflink>]). Typically environmental art works do not present ideas in a didactic manner but rather communicate in imaginative and sometimes open-ended ways. This opens a space of questioning, fostering a 'dialogical exchange' that is further enriched if the work's presentation involves a participatory component (Gablik [<reflink idref="bib15" id="ref46">15</reflink>]; Kester [<reflink idref="bib22" id="ref47">22</reflink>], 90). Such approaches can encourage participants to contemplate their relationship with the environment and to reflect on environmental behaviours (Gablik [<reflink idref="bib15" id="ref48">15</reflink>], 150, 151).</p> <hd id="AN0125034943-5">Theoretical framework: environmental art as a mechanism for environmental education</hd> <p>In their discussion of a framework for environmental education strategies, Monroe, Andrews, and Biedenweg ([<reflink idref="bib31" id="ref49">31</reflink>]) suggest that different educational initiatives can be employed depending on the educator's purpose. They define four kinds of environmental education interventions based on established objectives to: convey information, build understanding, improve skills, and enable sustainable actions. We suggest that the intervention category 'build understanding' most aptly aligns with the Noosa and North Devon BR environmental art initiatives. As such we analyse the two cases according to the 'build understanding' category goals, '(<reflink idref="bib1" id="ref50">1</reflink>) to exchange ideas and provide dialogue (<reflink idref="bib2" id="ref51">2</reflink>) to build a sense of place (<reflink idref="bib3" id="ref52">3</reflink>) to clarify and enhance the understanding of information and issues, and (<reflink idref="bib4" id="ref53">4</reflink>) to generate concern' (Monroe, Andrews, and Biedenweg [<reflink idref="bib31" id="ref54">31</reflink>], 212).</p> <p>Environmental art can provide a space for artists and participants to 'exchange ideas and provide dialogue' (Monroe, Andrews, and Biedenweg [<reflink idref="bib31" id="ref55">31</reflink>]). It can perform an educational function by engaging people with the environment through sparking curiosity and providing a context for people to specifically focus their thoughts on nature. The imaginative, open-ended, aesthetic and sometimes interactive aspects of environmental art can generate dialogue, elicit emotional responses and offer opportunities for participatory practices that allow people to reflect on what they value in their environment (Chandler, Baldwin, and Marks [<reflink idref="bib6" id="ref56">6</reflink>]). The exchange of ideas and dialogue is integral to social learning, or learning that occurs in a social context where individuals observe each other and learn from their social interactions within that group (Bandura and McLelland [<reflink idref="bib1" id="ref57">1</reflink>]).</p> <p>Additionally, art which is situated <emph>in</emph> and is <emph>about</emph> the environment can encourage a sense of place, the second goal of Monroe, Andrews, and Biedenweg's ([<reflink idref="bib31" id="ref58">31</reflink>]) 'building understanding' category, which can encourage environmental stewardship by redrawing individuals' and communities' attention to their environment (Chandler, Baldwin, and Marks [<reflink idref="bib6" id="ref59">6</reflink>]; Curtis [<reflink idref="bib10" id="ref60">10</reflink>]; Wallen [<reflink idref="bib54" id="ref61">54</reflink>]). Sense of place is defined as the creation of meaning at a setting by an individual (Williams and Patterson [<reflink idref="bib56" id="ref62">56</reflink>]), and encompasses three components: 'the physical environment, human behaviours and social and/or psychological processes' (Stedman [<reflink idref="bib47" id="ref63">47</reflink>], 671). Both residents and visitors can find place meaning through a significant experience (Kianicka et al. [<reflink idref="bib23" id="ref64">23</reflink>]), such as, in this case, participating in an environmental art initiative. Research has shown that residents who are more attached to place show more outward signs of involvement in physical revitalisation of their communities (Brown, Perkins, and Brown [<reflink idref="bib4" id="ref65">4</reflink>]) and are more likely to participate in planning efforts, investing their own time into invigorating their community (Manzo and Perkins [<reflink idref="bib27" id="ref66">27</reflink>]). These communities interact more with their neighbours and watch over their places, encouraging a sense of safety and social cohesion (Manzo and Perkins 2006).</p> <p>In terms of the third and fourth goals of 'building understanding', '(<reflink idref="bib3" id="ref67">3</reflink>) to clarify and enhance the understanding of information and issues, and (<reflink idref="bib4" id="ref68">4</reflink>) to generate concern', environmental art can draw attention to the environment in imaginative ways that encourage caring and stewardship, because people need 'to care about' relevant issues in order to be motivated to take action (Lorenzoni, Nicholson-Cole, and Whitmarsh [<reflink idref="bib25" id="ref69">25</reflink>], 446). Studies by Curtis ([<reflink idref="bib9" id="ref70">9</reflink>], [<reflink idref="bib11" id="ref71">11</reflink>]; Curtis, Reid, and Ballard [<reflink idref="bib12" id="ref72">12</reflink>]; Curtis, Reid, and Reeve [<reflink idref="bib13" id="ref73">13</reflink>]) have considered ways in which art events that connect people with environmental issues can foster environmental engagement and encourage behaviour change. Curtis' [<reflink idref="bib11" id="ref74">11</reflink>] study of an environmentally-based performance found that the event instilled in the participants a 'rich emotional response' that could lead to community building, environmental awareness and consequent pro-environmental behaviour change (Curtis [<reflink idref="bib11" id="ref75">11</reflink>], 65). Many of the participants in his study were able to express their concern about the environment through their participation in the creative performance, with one commenting on 'the transition from being "entertained" to gaining deeper understanding of the environmental message' (Curtis [<reflink idref="bib11" id="ref76">11</reflink>], 71).</p> <p>We suggest that the integration of environmental art within BR educational programs does not replace, but rather complements scientific and information-based education. Creative communication approaches that promote the environment in imaginative and engaging ways through formats such as environmental art, can complement scientific discourses by translating complex concepts into 'meaningful, attractive and accessible form[s] of information' (Sheppard [<reflink idref="bib45" id="ref77">45</reflink>], 35). Our cases demonstrate how artists can apply innovative thinking to re-envision environmental issues in imaginative and memorable ways. When such engagement with environmental art is enhanced by social interaction, discussion, reflection, experiential learning and educational activities, these processes can support increased environmental awareness, generate concern for the environment, and promote stewardship by drawing out environmental values.</p> <hd id="AN0125034943-6">Case study approach</hd> <p>Case studies were used in this research to explore the different responses to environmental art in real world situations. The case study approach 'allows the researcher to "go deep", to learn what works and what does not' (Corcoran, Walker, and Wals [<reflink idref="bib7" id="ref78">7</reflink>], 10). They are useful in researching the 'hows' and 'whys' of contemporary phenomena (Shakir [<reflink idref="bib44" id="ref79">44</reflink>]; Yin [<reflink idref="bib57" id="ref80">57</reflink>]), analysing situations through the lens of the ultimate audience to provide a wider and richer perspective of the subject of the study (Creswell and Miller [<reflink idref="bib8" id="ref81">8</reflink>]). In both Noosa and North Devon BRs, strategies explicitly and innovatively focus on facilitating environmental education through creative applications of the arts. Our analysis draws on data from two separate research projects examining environmental art being used to promote environmental understanding in BRs. The environmental art initiatives in each case study are next described to provide the context for further discussion of methods.</p> <hd id="AN0125034943-7">Noosa Biosphere Reserve's environmental art initiatives</hd> <p>The Noosa Biosphere Reserve, designated in 2007, was the first BR in the state of Queensland, Australia. It is renowned for its natural features: beaches and coastal areas, a lake and river system, coastal and hinterland townships, rural farmland, state forests and the popular Noosa National Park. In manifesting BR aims of promoting 'harmony between people and nature through education, conservation and sustainable development' (Noosa Biosphere [<reflink idref="bib32" id="ref82">32</reflink>]), the Noosa BR includes the arts as a means of engaging the community. Its <emph>Green Art</emph> fact sheet identifies the region's 'strong focus on art and environment activities', acknowledging the arts as 'crucial to developing a positive engagement with our natural surroundings and with our more-than-human future' (Noosa Biosphere [<reflink idref="bib32" id="ref83">32</reflink>]). <emph>Floating Land</emph>, an environmental art festival held biennially within the Noosa BR, manifests some of these goals along with other Noosa BR-supported environmental art initiatives, such as the annual Biosphere Art Prize that encourages work responding to the local environment and/or raising awareness of environmental issues. The prize also has an educational component, having supported the mentorship of an emerging artist ([<reflink idref="bib32" id="ref84">32</reflink>]) and an artist residency in local schools (2014–2015).</p> <p>As the flagship creative event for the Noosa BR, <emph>Floating Land</emph> has been the focus of the authors' research on environmental art. The festival was initially conceived as an 'art-in-nature' outdoor sculpture event in 2001, evolving to become a community-focused festival involving local, national and international artists in producing works which aim to generate environmental awareness, dialogue and reflection on the place. Since 2009, the event's main location has been at the pristine lake-side setting of Lake Cootharaba at Boreen Point, a village within the Noosa BR. Themes of recent festivals include Climate Change and Rising Seas (2009), Water Culture (2011) and Nature's Dialogue (2013), with the latter drawing on the concept of biomimicry and nature's inspiration for innovative human designs. The 2013 festival, held over ten days, hosted over 50 professional artists, including Indigenous artists from Australia and the Pacific region. Practitioners worked in diverse formats including site-specific sculpture, light and film projections, music and sound, written and spoken word, dance and performance, with many works situated in or around the lake.</p> <p>Recent iterations of <emph>Floating Land</emph> have also incorporated specific educational programming to support the festival's focus on informal social learning. At <emph>Floating Land 2013</emph>, the creative works were programmed alongside workshops, talks, films, and tours. Complementing learning in the field was the associated <emph>Balance</emph>-<emph>Unbalance International Conference</emph> that brought international and national scientists and artists together to 'explore intersections between nature, science, technology and society as we move into an era of both unprecedented ecological threats and trans-disciplinary possibilities' (Sunshine Coast Council [<reflink idref="bib48" id="ref85">48</reflink>], 41). The event is also enriched by community partnerships with local universities, environmental groups and eco-tourism businesses.</p> <hd id="AN0125034943-8">North Devon Biosphere Reserve's environmental art initiatives</hd> <p>The North Devon Biosphere Reserve (NDBR) is located in the southwest of England and was the first BR designated in the UK in 1976. Similar to the Noosa BR, it has diverse ecosystems including coastal and rural environments, river networks and no single major town centre, with the Reserve's core at the estuary of the Taw and Torridge rivers. Like the Noosa BR, the NDBR frequently works with artists 'to inspire, entertain and educate' (North Devon Biosphere Reserve [<reflink idref="bib36" id="ref86">36</reflink>]). The NDBR's aims in engaging communities with the biosphere reserve and facilitating environmental education through the arts are outlined in its <emph>North Devon's UNESCO Biosphere Reserve Arts Strategy</emph> (North Devon Biosphere Reserve [<reflink idref="bib33" id="ref87">33</reflink>]). This identifies NDBR intentions to 'engage with local people and to explain the 'complex concept' of the Biosphere Reserve' through developing partnerships between the BR, arts organisations and schools (North Devon Biosphere Reserve [<reflink idref="bib33" id="ref88">33</reflink>], 5).</p> <p>The NDBR has undertaken various arts initiatives with project partners, including <emph>Sea4Life</emph>, which brought together environmental educators, marine scientists, artists and schoolchildren, some of whom were trained as mentors, to collaborate in field activities aimed at increasing their understandings of coastal ecology. Another project, <emph>Confluence,</emph> involved four artists working with the University of Plymouth's i-DAT (Institute of Digital Art and Technology), NDBR staff and schoolchildren in gathering and interpreting environmental data collected by remote sensors called ECOIDS, placed along the River Torridge and the nearby environment. Artists worked with the schoolchildren to examine and re-present the data in imaginative ways, also creating individual works based on their own experiences with the project. These were all presented to community members in a public program, including travelling roadshows, enabling multiple opportunities for dialogue. A third initiative, <emph>Giants in the Forest</emph> (North Devon Biosphere Reserve [<reflink idref="bib37" id="ref89">37</reflink>]). presented several giant wicker heads interwoven with native woodland plants and suspended in trees overlooking the River Torridge on the popular Tarka Trail walking and cycling track. Visitors were encouraged to upload to the project's website photos of the heads which were festooned with plants that grew and changed as the seasons progressed, imaginatively revealing the changing cycles of nature. In 2012 and again in 2014, storytellers engaged with over 400 primary schoolchildren in the field in creating imaginative tales related to the <emph>Giants in the Forest</emph>. The project aimed to 'raise awareness of the Biosphere's Nature Improvement Area work' in habitat restoration, and more broadly, 'to inspire people to think about their surroundings, how they are changing and their place in shaping that change' (North Devon Biosphere Reserve [<reflink idref="bib37" id="ref90">37</reflink>]; Figure 1).</p> <p>Graph: Figure 1. Children from Sticklepath School visit Giants in the Forest and draw and write stories about them, Tarka Trail, North Devon Biosphere Reserve.</p> <hd id="AN0125034943-9">Methods</hd> <p>The Noosa BR study reviewed the <emph>Floating Land</emph> 2013 event. Three groups of participants were invited to complete questionnaires: the festival audience, workshop participants, and local residents. The audience respondents were self-selecting, completing questionnaires at the festival in the 'reading room', a marquee especially set up as an outdoor living room to attract participants to sit, relax and complete the survey. The workshop participant respondents were also self-selecting, volunteering to complete a questionnaire when distributed by the authors after workshop sessions. Of the estimated 5000 attending over the 10 days of the event, 120 festival attendees and 30 workshop participants completed surveys. Two hundred adult residents of the local village, Boreen Point, received both pre- and post- festival questionnaires as a result of a letterbox drop. Thirty-six (18%) of local residents responded to both the pre and post-festival questionnaires.</p> <p>We measured, through separate questionnaires for each group, the level of engagement with environmental themes, environmental attitudes and behaviours, sense of place indicators, and participants' intentions to change behaviours as a result of attending the festival. The questionnaires were constructed using adaptations of scales of environmental behaviours based on Steg (1999 cited in Gatersleben, Steg, and Vlek [<reflink idref="bib16" id="ref91">16</reflink>]) and scales of sense of place devised by Jorgensen and Stedman ([<reflink idref="bib18" id="ref92">18</reflink>]) and Kaltenborn ([<reflink idref="bib19" id="ref93">19</reflink>]). Both Likert scale and open-ended questions were asked to garner qualitative and quantitative data. This paper focuses on the qualitative responses that were explored for recurrent themes, giving rich insights into the responses from the audience, workshop participants, and residents. Quantitative data collected focused more on behaviour change and has been reported elsewhere (Marks, Chandler, and Baldwin [<reflink idref="bib28" id="ref94">28</reflink>]).</p> <p>The North Devon BR study was based on outcomes of a total of four detailed interviews conducted with an artist, an ecologist, an arts administrator and a Biosphere Foundation member, all of whom had been involved with NDBR projects. These interviews focused on the NDBR structure, strategies and the specific projects: <emph>Confluence, Giants in the Forest</emph> and <emph>Sea4Life</emph>. Methods also included a document analysis of strategies, reports and teachers' resources (North Devon Biosphere Reserve [<reflink idref="bib33" id="ref95">33</reflink>], [<reflink idref="bib34" id="ref96">34</reflink>], [<reflink idref="bib36" id="ref97">36</reflink>], [<reflink idref="bib37" id="ref98">37</reflink>]) and site visits. While different methods were used in this second study, the NDBR data can also be analysed according to Monroe, Andrews, and Biedenweg's ([<reflink idref="bib31" id="ref99">31</reflink>]) criteria for 'building understanding'. It supplies further evidence and enriches the discussion about environmental art as a learning strategy for the MAB program.</p> <hd id="AN0125034943-10">Results and discussion</hd> <p>The case studies were analysed according to the four goals of 'building understanding'. The following section outlines how the environmental art initiatives responded to these goals, with data collected from the case studies.</p> <hd id="AN0125034943-11">Environmental art can encourage idea exchange and dialogue</hd> <p>The Noosa BR's <emph>Floating Land</emph> event and the NDBR <emph>Confluence, Giants in the Forest</emph> and <emph>Sea4Life</emph> projects all involved participants engaging with art works created within or in response to local environments. In each case these initiatives were enriched by a strong educational component incorporating multi-disciplinary input and participation, social learning and opportunities for idea exchange, dialogue and reflection. An example from <emph>Floating Land</emph> is the presentation of three interconnected sculptural works located at the lake that drew attention to the importance of the julara fish (the local Indigenous Kabi Kabi people's name for the mullet) within the ecosystem of local waterways (see Figures 2 and 3).</p> <p>Graph: Figure 2. Julara on Weyba, Simon and Adrienne McVerry. Image Raoul Slater.</p> <p>Graph: Figure 3. Julara Fishnet Weaving, Kris Martin. Image Raoul Slater.</p> <p>Simon and Adrienne McVerry's colourful <emph>Julara</emph> sculptures were positioned within the lake, Kris Martin's <emph>Julara Fishnet Weaving</emph> project included a leaping school of julara woven from locally sourced Cats Claw weed vines, and Kabi Kabi artists Lyndon Davis and Brent Miller drew on traditional knowledge to create a sculptural suspended net constructed from local bark and fibre string. Two workshops enabled participants to discuss and reflect with the artists and each other on the works, create related artefacts from natural materials, further understand the role of the mullet within Indigenous and non-Indigenous knowledge systems, and also to explore the inter-relationships with the local environment. Respondent comments from workshop questionnaires demonstrate the idea exchange that the participants experienced in the workshops, from using natural art materials, to learning about the julara, thinking about the environment, and Indigenous practices. Participants reported their learnings from others at the workshops about both art and the environment as follows:</p> <p>... the importance of using natural materials for art, instead of consumerism of art materials (female, 56–65 years old)</p> <p>... a technique which I can easily remember and adapt at home, using fibres I already have in my garden (gender, age unknown)</p> <p>... more aware of the lake and its 'contents' (female, 46–55 years old)</p> <p>... how time and environment are related, handcraft, slow process, hard works vs fast production, easy fix, disconnect from being busy (female, 36–45 years old)</p> <p>... to shape the fish. An ancient skill for 21 Century (female, 56–65 years old)</p> <p>... that the exhibition of the fish out of the water display speaks to me, the way the government doesn't understand how important conservation really is (female, 46–55 years old)</p> <p>In our audience surveys, <emph>Floating Land</emph> participants commented on the positive impact of these reflective, social learning experiences and the benefits of engaging with others to consider environmental issues. Responses reflected a sense of interconnection from dialogue with others and of concern for the environment:</p> <p>So many people here – feel more positive about possibilities (female, 46–55 years old)</p> <p>I feel more hopeful to meet so many others who care about ecology (female, 46–55 years old)</p> <p>... seeing that other human beings (artists) love the planet passionately and grieve/care for what we do to it (gender and age unknown)</p> <p>When asked about their favourite aspects of the festival, participants commented on the social interaction:</p> <p>... the opportunity to see ecological art work, meeting environmentally conscious community and talk about all related issues with participants and attendees (male, 26–35 years old)</p> <p>... the art/talking to like-minded people. Learning (gender unknown, 65+ years old)</p> <p>Such comments suggest a valuing of the role of dialogue, learning and community generated through the event. It demonstrates that environmental art in this festival format was effective in 'building understanding' by promoting the exchange of ideas and providing dialogue (Monroe, Andrews, and Biedenweg [<reflink idref="bib31" id="ref100">31</reflink>]).</p> <p>The NDBR's <emph>Confluence</emph> project brought together four project partners, eight schools and over 500 students and teachers to trial 'the use of the arts and creative approaches to community engagement, in relation to environmental issues' in a Biosphere Reserve. The project sought to 'raise awareness' and involve local people 'in monitoring their environment' and 'encourage behaviour change among local communities' (North Devon Biosphere Reserve [<reflink idref="bib34" id="ref101">34</reflink>], 1, 2, 6). Although this ambitious project had some setbacks involving technologies and timing, it nevertheless represented an imaginative constructive learning environment which exposed students to artists, the BR and university staff, and enabled them to learn in cross-disciplinary ways. Referring to the learning outcomes, one teacher commented that the project: 'helped us develop understanding of local environment' and contributed to understandings of 'the use of data and interpretation of data' (North Devon Biosphere Reserve [<reflink idref="bib34" id="ref102">34</reflink>], 27).</p> <p>Opportunities for further dialogue and idea exchange also occurred when 63 educators, technologists, artists and environmentalists took part in a seminar linked with the <emph>Confluence</emph> project, enabling participants to 'discuss, share and explore' cross-disciplinary approaches to environmental understanding. Additionally, three community roadshows were staged, as well as a final exhibition which received almost 700 visitors. This was presented in a five-metre immersive dome containing interpretive material and art works, some of which were projected onto the dome's interior walls. Visitors referred to idea exchange in terms of: 'bringing art and knowledge together', 'integration of science and art', with 'lots to learn', while their engagement with the initiative was reflected in comments such as: 'interesting and something new', 'really inspiring' and 'innovative, stimulating'. (North Devon Biosphere Reserve [<reflink idref="bib34" id="ref103">34</reflink>], 7, 14–17).</p> <p>Such comments from both the Noosa and North Devon BRs data support the notion that environmental art fosters dialogue and idea exchange by engaging audiences through such imaginative place-based initiatives.</p> <hd id="AN0125034943-12">Environmental art can encourage a sense of place</hd> <p>The second goal of 'building understanding' is to encourage a sense of place (Monroe, Andrews, and Biedenweg [<reflink idref="bib31" id="ref104">31</reflink>]). Environmental art does this by attracting its audience into the outdoors, providing opportunities to re-draw attention to the environment while also offering imaginative experiences that can remind people of the beauty and value of their place. As Carlson suggests, in many instances: 'Not only is the site of an environmental work an environmental site, but the site itself is an aspect of the work' (Carlson [<reflink idref="bib5" id="ref105">5</reflink>], 150). Outdoor festivals such as <emph>Floating Land,</emph> and place-based learning initiatives such as the NDBR's <emph>Confluence, Giants in the Forest</emph> and <emph>Sea4 Life,</emph> provide opportunities for local communities to strengthen their sense of place through reminding or re-attracting their attention to their environment. At <emph>Floating Land</emph>, art works were located in the environment, on or beside the lake, to provide an experience that reminded residents of the beauty of their village in order to enhance their place attachment. Data from <emph>Floating Land</emph> surveys revealed that the local community of Boreen Point where the festival was held benefited greatly in terms of re-imagining their place and feeling inspired to take on further stewardship of their environment. Of the 36 respondents (out of approximately 200 adult residents) to a pre- and post-festival questionnaire, 75% indicated that the festival made them feel more proud of their village. Responses explicated valuing of the place:</p> <p>... [the festival] reinforced our desire to keep/conserve what we have and what we value i.e. a pristine environment</p> <p>The evolution of <emph>Floating Land</emph> since we have lived here has given me a deeper awareness of the importance of sharing our appreciation of a natural, unspoilt area</p> <p>Connection to community also played an important role in enhancing their sense of place: 53% said that they felt more a part of their community since the festival, while 47% agreed that the event made them want to do more for their community. Respondents' comments included:</p> <p>... [the festival] reinforced a sense of community and why I love where I live – a truly beautiful place</p> <p>Although I have lived in Boreen Point for 15 years this was the first time I really immersed myself in <emph>Floating Land</emph> and I thoroughly enjoyed myself – felt very connected to community and beauty of Boreen Point. Feel proud and grateful to live in such a beautiful place</p> <p>The three NDBR initiatives were designed to foster a sense of place in participants by enriching understandings of specific environments through place-based activities that involved experiencing and engaging with those environments in multi-faceted and multi-disciplinary ways. The <emph>Giants in the Forest</emph> educational resources reflect on the role of art in the environment in fostering a sense of place, noting: 'Having memorable times in nature helps connect children (and all of us) to where we live and increases a sense of belonging and ownership' (Hurley [<reflink idref="bib17" id="ref106">17</reflink>].). <emph>Confluence</emph> involved the visualisation of live environmental data such as bat movements and water quality generated from particular BR sites. The project sought to reveal the invisible and facilitate fresh understandings of the local environment through constructive learning activities that drew on scientific perspectives to analyse the data and creative approaches to re-present it in engaging ways. This approach was intended to enable students, and project audiences, to see aspects of their environment that they might otherwise overlook and, in turn, to support a valuing of place. In evaluating the project's impact, one teacher noted that, 'activities round school grounds and local environment were project highs for us' (North Devon Biosphere Reserve [<reflink idref="bib35" id="ref107">35</reflink>], 11). <emph>Sea4Life</emph> incorporated field activities examining BR coastal and estuarine environments employing both scientific enquiry and creative practice such as observing and recording beach debris before incorporating it into imaginative art works while exploring ideas about recyclable and non-recyclable materials. For <emph>Giants in the Forest,</emph> school children engaged with the living sculptures on the Tarka Trail, and were encouraged to weave layers of information about botany, history and geography with their imaginative experiences of place.</p> <p>Through initiatives such as these, by focussing on the local environment through environmental art initiatives and imaginative place-based activities that promote a strong sense of place, BRs can motivate communities to engage in environmental stewardship as a result of positive thoughts, feelings and beliefs about their place (Manzo and Perkins [<reflink idref="bib27" id="ref108">27</reflink>]).</p> <hd id="AN0125034943-13">Environmental art can clarify and enhance understanding of issues and generate concern</hd> <p>The third and fourth components of Monroe, Andrews, and Biedenweg's ([<reflink idref="bib31" id="ref109">31</reflink>]) 'building understanding' category is to improve understanding and generate concern. Creative approaches can draw attention to the environment through curiosity about the art works and through their affective dimension, that is, the way in which they can engender strong emotions. This, in turn, can motivate participants to attain a deeper understanding of issues. At <emph>Floating Land,</emph> the beauty and dramatic impact of some works fostered engagement by generating thoughtful and felt responses that enabled participants to reflect on what they valued in their environment. The <emph>Reading Clouds</emph> – <emph>Floating Middens</emph> installation by Maori artist Michel Tuffery and Australian artist James Muller (see Figures 4 and 5) provided a day and night spectacle that gained wide media coverage.</p> <p>Graph: Figure 4. Reading Clouds – Floating Middens, Michel Tuffery and James Muller. Image Raoul Slater.</p> <p>Graph: Figure 5. Reading Clouds – Floating Middens, Michel Tuffery and James Muller. Image Raoul Slater.</p> <p>The sculptures attracted a wide audience that were then exposed to an art work which acknowledged 'the history, physical geography and navigational links of the wider Pacific region and its peoples' (Sunshine Coast Council [<reflink idref="bib48" id="ref110">48</reflink>]). The large organic forms, constructed from renewable weed fibre and positioned in the lake, referred to the significance of shells in Maori and Aboriginal cultures, and highlighted the Pacific peoples' long term inter-relationship with the environment. At night, imagery projected onto the shells suggested ways in which Pacific peoples have built observational knowledge of clouds, currents and other natural signs to literally and metaphorically navigate their environment. Participant comments reflected strongly-felt reactions to the work and their relationship with nature:</p> <p>The use of natural materials like the shells and fish in the water has drawn my attention to the beauty and delicacy of the environment on the coast (female, 56–65 years old)</p> <p>The art work acts to lift my spirits and reinforce my existing love of being in the natural environment (female, 46–55 years old)</p> <p>The emotional response to the aesthetic qualities of the artwork not only attracted a wide audience, but also raised awareness, reminding people of the beauty of their place and a resulting concern for acting as stewards towards it. Our surveys of <emph>Floating Land</emph> participants revealed emotional responses generated through experiencing the art works and the festival:</p> <p>... reinforced and ignited my passion for the environment and appreciation of nature and my passion for wanting to communicate this to other people (female, 26–35 years old)</p> <p>The green art movement on the coast has inspired me to get involved and take it further (female, 26–35 years old)</p> <p>Makes you think! I really care about our lovely land (female, 56–65 years old)</p> <p>The enhanced understanding and concern generated through learning communities within <emph>Floating Land</emph> led many participants to respond that they felt more positive about their capacity to enact change. Audience survey results revealed that 41% of the <emph>Floating Land</emph> audience intended to change their environmental behaviours as a result of attending the festival. Many participants (<reflink idref="bib61" id="ref111">61</reflink>) attended the festival for reasons other than the environment, but of those 61, twenty-nine intended to change their environmental behaviours as a result of the festival. That is almost a quarter (24%) of the total sample population of 120 that came to the festival without environmental intention, and left with an intention to change their behaviour. In addition, the resident survey indicated that 44% of respondents wanted to do more for their environment as a result of attending the festival. While not a majority, this indicated an increase in prior motivation among a proportion of the population.</p> <p>The cross-disciplinary nature of the NDBR projects <emph>Sea4Life</emph> and <emph>Confluence,</emph> which brought together educators, scientists, artists and participants, including many school children, fostered a multi-faceted understanding of the BR through participatory, place-based learning and the translation of learning experiences through creative practice. A key aim of <emph>Confluence</emph> was to develop an innovative means of generating community recognition 'of change and patterns in the environment that might be linked to behaviour and therefore start to engage people in dialogue about impacts' (North Devon Biosphere Reserve [<reflink idref="bib35" id="ref112">35</reflink>], 5). Although only some of the data collection devices did not function effectively, the project enabled participants to explore links between scientific monitoring and their local environment and to produce creative works that responded to these experiences. The display of artists' and students' works in an immersive dome at the Appledore Arts Festival provided fresh perspectives of scientific data. One teacher commented: 'Seeing [the] artist's work was great and understanding the connection between the photography and the impact the digital information could have was a real eye opener for the students' (North Devon Biosphere Reserve [<reflink idref="bib35" id="ref113">35</reflink>], 11). Additionally, one of the artists revealed how the <emph>Confluence</emph> project boosted his environmental knowledge and motivated him to become further involved in protecting the environment, noting:</p> <p>I have gained a deep insight into the task of managing and protecting a special landscape. I was pleased to encounter very keen and committed individuals in the locality – both professional and voluntary – and hope to find ways to revisit the area and carry on aspects of the project. (North Devon Biosphere Reserve [<reflink idref="bib34" id="ref114">34</reflink>], 23)</p> <p>Environmental art, while engaging people through imaginative art and activities, can also act as a trigger and inspiration for clarifying and enhancing understanding of issues, which can lead to generating a concern for the environment. This does not negate the need for clear scientifically-informed information, but rather suggests that environmental art can complement such forms of communication by encouraging awareness and emotional commitment that can lead to caring for the environment.</p> <hd id="AN0125034943-14">Conclusion</hd> <p>Our paper has focused on an analysis of two case study BRs from opposite sides of the world to demonstrate the different ways that environmental art initiatives can be used to build environmental understanding and achieve BR goals of environmental education. These cases show that environmental art can engage an audience by imaginatively presenting the environment in participatory place-based initiatives.</p> <p>Environmental art was used in two BRs to foster dialogue and idea exchange. It built a sense of place, as well as enhanced understanding of issues, and generate concern. In this way, activities of the two BRs have aligned with Monroe, Andrews, and Biedenweg's ([<reflink idref="bib31" id="ref115">31</reflink>]) environmental education interventions to 'build understanding'. They have also adhered to UNESCO's definition of environmental education in promoting awareness of the environment, and providing opportunities for individuals and communities to acquire knowledge, values, skills, experiences and determination to act (UNESCO [<reflink idref="bib49" id="ref116">49</reflink>]).</p> <p>The environmental art initiatives in Noosa and North Devon BRs contributed to:</p> <p></p> <ulist> <item> • fostering dialogue and idea exchange, with the Noosa BR study showing evidence of social learning. Many festival participants appreciated an opportunity for discussion and reflection about the art and nature juxtaposition. In both cases, the innovative and imaginative nature of the art works contributed to participant interest and engagement.</item> <p></p> <item> • enhancing a sense of place for many of the participants. The Noosa BR study found that local residents felt more a part of their community, and as a result wanted to do more for their environment and community. Residents' comments suggested that they re-imagined their place and felt a reinvigorated appreciation of it. In each of the BRs participants engaged in place-based learning that drew attention to the local environment in creative ways.</item> <p></p> <item> • improving understanding and generating concern by engendering curiosity and an emotional response that triggers engagement and concern for the environment. Additionally, cross-disciplinary interactions between scientists, educators and artists contributed to multi-faceted understandings and fresh perspectives on the local environment that encouraged understanding about environmental issues.</item> </ulist> <p>While the two cases did not use identical methods, data from the two studies were used in accordance with Monroe, Andrews, and Biedenweg's ([<reflink idref="bib31" id="ref117">31</reflink>]) framework to illustrate the capacity of environment art to engage and educate about the environment. Sample sizes of participants in both studies were not large, but were quite adequate for use in qualitative research. Further research could compare BR environmental art initiatives in greater depth, with larger sample sizes, and investigate the long term effects of such events to determine whether emotional responses, sense of place and motivations do lead to environmental action and/or stewardship. A systematic comparative analysis of all BRs, their learning approaches and effectiveness would also contribute to knowledge in this area.</p> <p>Our analysis of the Noosa and North Devon BR environmental art initiatives suggests that environmental art can be a useful resource for BRs to achieve their overarching educational goals, as 'potential learning sites', 'providing platforms for mutual and collective learning' (Schultz and Lundholm [<reflink idref="bib43" id="ref118">43</reflink>], 645–647) about the environment and people-place relationships within it. The activities illustrated and shared here should provide inspiration and ideas for other BRs. 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  Label: Title
  Group: Ti
  Data: Environmental Art as an Innovative Medium for Environmental Education in Biosphere Reserves
– Name: Language
  Label: Language
  Group: Lang
  Data: English
– Name: Author
  Label: Authors
  Group: Au
  Data: <searchLink fieldCode="AR" term="%22Marks%2C+M%2E%22">Marks, M.</searchLink><br /><searchLink fieldCode="AR" term="%22Chandler%2C+L%2E%22">Chandler, L.</searchLink><br /><searchLink fieldCode="AR" term="%22Baldwin%2C+C%2E%22">Baldwin, C.</searchLink>
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  Label: Source
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  Data: <searchLink fieldCode="SO" term="%22Environmental+Education+Research%22"><i>Environmental Education Research</i></searchLink>. 2017 23(9):1307-1321.
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  Data: 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
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  Label: Peer Reviewed
  Group: SrcInfo
  Data: Y
– Name: Pages
  Label: Page Count
  Group: Src
  Data: 15
– Name: DatePubCY
  Label: Publication Date
  Group: Date
  Data: 2017
– Name: TypeDocument
  Label: Document Type
  Group: TypDoc
  Data: Journal Articles<br />Reports - Research
– Name: Subject
  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Sustainability%22">Sustainability</searchLink><br /><searchLink fieldCode="DE" term="%22Sustainable+Development%22">Sustainable Development</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Activities%22">Art Activities</searchLink><br /><searchLink fieldCode="DE" term="%22Documentation%22">Documentation</searchLink><br /><searchLink fieldCode="DE" term="%22Questionnaires%22">Questionnaires</searchLink><br /><searchLink fieldCode="DE" term="%22Observation%22">Observation</searchLink><br /><searchLink fieldCode="DE" term="%22Semi+Structured+Interviews%22">Semi Structured Interviews</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Methods%22">Educational Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Natural+Resources%22">Natural Resources</searchLink><br /><searchLink fieldCode="DE" term="%22Environmental+Education%22">Environmental Education</searchLink><br /><searchLink fieldCode="DE" term="%22Case+Studies%22">Case Studies</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink><br /><searchLink fieldCode="DE" term="%22Artists%22">Artists</searchLink>
– Name: Subject
  Label: Geographic Terms
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Australia%22">Australia</searchLink><br /><searchLink fieldCode="DE" term="%22United+Kingdom+%28England%29%22">United Kingdom (England)</searchLink>
– Name: DOI
  Label: DOI
  Group: ID
  Data: 10.1080/13504622.2016.1214864
– Name: ISSN
  Label: ISSN
  Group: ISSN
  Data: 1350-4622
– Name: Abstract
  Label: Abstract
  Group: Ab
  Data: A key goal of Biosphere Reserves (BR) is to foster environmental education for sustainable development. In this study we systematically analyse two cases in which environmental art is used as a mechanism to engage communities in "building environmental understanding", in Noosa BR in Australia and North Devon BR in the United Kingdom. Data were derived through document analyses, site visits, questionnaires and semi-structured interviews conducted with the audience, artists, and residents. The study concludes that environmental art can build understanding through (1) exchanging ideas and providing dialogue (2) building a sense of place (3) clarifying and enhancing the understanding of information and issues, and (4) generating concern. Consequently environmental art should be considered an innovative addition to the suite of environmental education tools used in other BRs and community organisations that aim to educate about the environment.
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  Data: As Provided
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  Label: Number of References
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  Data: 58
– Name: DateEntry
  Label: Entry Date
  Group: Date
  Data: 2017
– Name: AN
  Label: Accession Number
  Group: ID
  Data: EJ1153820
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      – Type: doi
        Value: 10.1080/13504622.2016.1214864
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 15
        StartPage: 1307
    Subjects:
      – SubjectFull: Sustainability
        Type: general
      – SubjectFull: Sustainable Development
        Type: general
      – SubjectFull: Art Activities
        Type: general
      – SubjectFull: Documentation
        Type: general
      – SubjectFull: Questionnaires
        Type: general
      – SubjectFull: Observation
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      – SubjectFull: Semi Structured Interviews
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      – SubjectFull: Educational Methods
        Type: general
      – SubjectFull: Natural Resources
        Type: general
      – SubjectFull: Environmental Education
        Type: general
      – SubjectFull: Case Studies
        Type: general
      – SubjectFull: Foreign Countries
        Type: general
      – SubjectFull: Artists
        Type: general
      – SubjectFull: Australia
        Type: general
      – SubjectFull: United Kingdom (England)
        Type: general
    Titles:
      – TitleFull: Environmental Art as an Innovative Medium for Environmental Education in Biosphere Reserves
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            NameFull: Chandler, L.
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            NameFull: Baldwin, C.
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              Value: 9
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            – TitleFull: Environmental Education Research
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