Space for art: How creativity and science can complement each other

The Dutch countryside is in a state of transition: land use conflicts are surfacing, infrastructural developments are changing the landscape, and quality of life is under pressure due to population decline and ageing. Cultural geographer and social planner Gwenda van der Vaart researches how art forms such as film, theatre, and music can help rural residents adapt to these changes. 'Communities can become more resilient through art that reflects the changes in their environment.'

^{Text: Gert Gritter, Corporate Communication UG / Photos: Henk Veenstra}

Imagination in Transition

Together with rural geographer Tialda Haartsen and PhD researcher Marit van der Haar, Van der Vaart completed the research project Imagination in Transition in early 2025, commissioned by the Ministry of Agriculture, Fisheries, Food Security and Nature. Van der Vaart: ‘Our research shows that art can help make rural residents more resilient and empowered in the spatial transition process. The emotions surrounding this, such as denial, anger and depression, can be explored, discussed and ultimately also processed. People can also actively participate in developments in their local area.’

Dialogue

The performance ‘Iets met Boeren’ (Something with Farmers) by Bureau Pees was one of the examples featured in the Imagination in Transition research project. The performance engaged a wide audience in the ongoing agricultural debate, aiming to oppose its the polarizing tone. Another example was the multi-year programme Possible Landscapes by the Stichting Nieuwe Helden (New Heroes Foundation). The programme features model installations as part of an experiential exhibition exploring what is possible today, in the near future, and beyond. It encourages dialogue on new perspectives for a sustainable living environment. Van der Vaart: Deploying art in the right ways can facilitate a broader and more inclusive conversation about the future of the Dutch countryside.

Wind turbines in Pingjum

Van der Vaart, originally from the village of Grootegast in Groningen, previously conducted her PhD research in the Frisian village of Pingjum near the Wadden Sea, which has approximately 600 inhabitants. ‘My research revealed how residents dealt with the potential arrival of a wind farm, and what that would mean for their relationship with the landscape. This was explored through participative research. I conducted group interviews and a walking interview with 28 residents of the village. I also organized a creative workshop.’ In Pingjum too, art-oriented community activities proved effective in fostering resilience and social cohesion. This also contributed to what is called mienskip in Frisian: a sense of community, including mutual connectedness, protection, and self-reliance.

Rugby and bagels

Van der Vaart’s participative research involves a lot of personal, face-to-face contact with rural residents. ‘Yes, it’s a kind of “embodied experience,” where you, as a researcher, look back through their lens. Of course, you bring your own personality into the research, which isn’t a problem, as long as both parties experience it positively. Do you have to be artistic yourself to do the kind of research Van der Vaart does as a cultural geographer? Van der Vaart laughs: 'No, I always say that my sister got the creative genes from our parents and I got the sporty ones.’ The geographer was an avid rugby player during her studies and PhD research. ‘To be honest, I needed a break from academia after my PhD. My boyfriend — now my husband — and I went to Australia for a year to play rugby at quite a decent level. It’s a very big sport there. To make some extra money, I worked selling bagels in Brisbane. But when I saw job openings at my old faculty, I felt the spark again, and we returned to Groningen after that year.’ Van der Vaart now works as an assistant professor at the same faculty where she once started as a bachelor’s student. She has since become a mother and swapped rugby for triathlons and trail running. ‘It is easier to combine with caring for our son.’

Quality of life in Eemsdelta

Creative research methods can be a powerful way to learn about local communities and gain insight into how the public responds. Such insights can support policymakers in their planning. That is why Van der Vaart emphasizes that this kind of research deserves more recognition and wider application in academia. She is currently involved in the research project Future in Eemsdelta. The project is being carried out on behalf of the Municipality of Eemsdelta and Stichting Voortgezet Onderwijs Eemsdelta (Elmsdelta Secondary Education Foundation) to monitor the development of the new Eemsdelta Campus in Appingedam, especially how students experience it and how it affects their quality of life and future prospects. Here too, the research is partly participative: in addition to interviews and questionnaires, it also included a teaching programme with students at the lower vocational level (VMBO) from one of the secondary schools. It provides a good opportunity to engage with and learn from this group that is often hard to reach.

Piemelfontein

Van der Vaart puts things in perspective: ‘Research also shows that the impact of art depends on the context, it’s not all sunshine and rainbows. It’s not a cure-all. Art can have both unifying and divisive effects among different groups of residents. You can’t reach everyone. Some people will always say they have nothing to do with art. But often it is just a case of people fearing what they don’t know.’ Yet, Van der Vaart is a strong supporter of art-oriented community activities. ‘Art strengthens people’s emotional ties to their landscape, expands their knowledge of their surroundings, and invites them to reflect on the value they assign to the landscape. A good example is the “Piemelfontein” in Workum: an artwork created that expressed dissatisfaction with Leeuwarden being named as the European Capital of Culture in 2018. With this piece of art, the initiators protested against decisions that, in their view, were made without regard for the average Frisian.’

More information

Gwenda van der Vaart