The above five texts summarize each participant's interview and main findings. To present concrete results, the texts will be refined into tables highlighting relevant statements for the research questions.
While all five participants have some understanding and familiarity with the concept of artistic activism, only one of them possesses a clear and accurate definition of it as a theoretical concept. The other participants' notions of artistic activism are generally sufficient but lack the nuances and precision associated with a comprehensive understanding.
The five participants express their political engagement through various avenues, including decolonization, advocating for marginalized communities, promoting the democratization of knowledge, and fighting against injustices and inequalities.
The five participants have diverse relationships with their audience, with four aiming to create through collaboration, exchange, or emotional stimulation. While all recognize artistic activism as effective in triggering change and reactions, unanimity regarding its superior efficiency compared to other forms of activism is not achieved. It is viewed as a different approach, still effective but tackling issues from a unique perspective.
The table presents a significant observation derived from the five interviews. Among the five participants, all five value political engagement, and all five incorporate it into their artwork. However, only one out of the five participants identifies themselves as an artistic activist. Beyond the artist itself identifying a political engagement present in its artwork, it can be observed or heard through the audio-visual gallery as well. Thus, even an audience could identify it as artistic activism, without the participant’s perspective on its position towards it.