Art and Community Development: March 2011

Tuesday, March 22, 2011

Community Art: Forms of Engagement - Week 8

Community-Based Artistic Practice: Perspectives from a Gathering of Exemplar Artist Companies (Treuhaft, 2008)

meeting between Cornerstone Theater Company, Liz Lerman Dance Exchange, Sojourn Theatre, and Urban Bush Women
goals of the meeting

express core values and working methods of each organization
link Summer Institutes
examine ways theatre and dance function differently and similarly in their work
discuss engagement strategies, partnership-building, and ensemble-based work
discuss the role of the leader/director/facilitator in projects and organizations doing work that involves collaboration within groups of artists and within community contexts

works of all four companies involve eye contact, connection, physical sharing, gestural dance, bilingualism, and storytelling
community partnership: "a partnership with others who bring equal value to the table and then we figure out together what our commonalities are and how we work together"

process of learning from one another, of entering the work humbly and with curiosity

"All the artists agreed that the work must be connected to specific community needs: it can't just live as generalized "medicine," a cure-all intended to work for every problem" (5)
need for an exit strategy in community work, lay groundwork for community to take up the project/new projects on their own

need for action inside the leave-taking
ritualizing the leave-taking

all groups were committed to providing training in community-based practice for the next generation of artists via "institutes"

organizing group acts as both a learner and a teacher, brings a passion for collaboration
groups expressed interest in some form of collective institute

ways of achieving a fiscally healthy company: corporate sponsorship/partnership

can these corporations be looked at as diverse communities instead of homogenous monoliths
can these partnerships be formed with denigrating the artistic process in some way?
redefining idea of a corporate community makes it possible to see how art could play a role

place where people are engaged in more diverse surroundings than their home lives
need to understand their own cultures and address the ways that outside communities look at them, the successful integration of a product, the impact of a product on society, and the concept of a company's footprint on the environment

can a national organization have a local impact?

need to find ways to develop roots at home while broadening national audience
having a home necessitates accountability

issue that many of these organizations don't have a space of their own in their hometown

each company seems to have a different definition of "home"
all have a commitment to how the arts can deepen a personal and communal sense of place

Live from Your Neighborhood: A National Study of Outdoor Arts Festivals (NEA,

"art works": artist productions, arts engaging and inspiring audiences, arts workers as real workers
festivals and fairs collectively attract more unique audience members per year than most arts events
festival audiences are on average more diverse that those for many other types of live art events; their audiences more closely resemble the general population that no other groups of art-goers
arts festivals as tokens of civic pride, demonstrated by the government and community support they receive
activities usually span a wide array of art forms which converge in a single space
usually create a high-quality arts experience (juried, curated, managed by professionals, etc.)
arts educational opportunities form a component of most outdoor arts festivals

some even form partnerships with schools/school districts

most are free or offer discounted ticketing

in the case of Houston's IFest, even charging for admission still seemed to draw an economically-diverse audience

usually take place in small or mid-sized communities
tend to occur in accessible and family-friendly spaces
most have occurred in the same community for more than a decade; a part of the community's
culture
support of local government agencies is crucial to success of outdoor arts festivals

most funds however come from corporate sponsorship and vendor fees
public-private partnerships have much lower costs than private non-profits due to breaks from municipal government on licenses, services, etc.

rely heavily on volunteers and small number of dedicated staff
festival as an opportunity to showcase their community, give the public the gift of art and culture, and promote cultural understanding, appreciation, and acceptance
festivals engage greater interaction between audiences and artists
opportunity to expose audiences to unfamiliar artistic forms and styles and to introduce lesser-known artists alongside big names
audiences are usually involved more in the arts either as observers or as active participants (or both)
less traditional (i.e. not "high-art") festivals seem to have a more diverse audience based on snapshots of case studies
jazz is the most common type of music played at music festivals, followed by blues, folk/traditional, bluegrass, and then rock/pop music and more popular music
survey used qualitative and quantitative data

Feminist Aesthetic Practice of Community Development: the case of Myths and Mirrors Community Arts (Clover, 2007)

article argues that "paying attention to the aesthetic dimension of politically-oriented pedagogies can add to the knowledge and understanding of community development and social learning theory and practice. Imagination and creativity are powerful tools inherent to all human beings that enable risk-taking, the reclamation of public space, and the simultaneous exercising and contesting of power within the neo-conservative landscape"; also augments cultural leadership
Myths and Mirrors Community Arts "uses the arts to creatively build community, encourage creative forms of civic dialogue, learning and engagement, and stimulate imaginative critiques that challenge neo-conservatism and injustice"
neo-conservatism as a danger to civic participation (causing a decline) and to long-establish social policies and practices (shift to more market-based policies)
empowerment, feminist, and transformative approaches to community development emphasize process (especially dialogue, collective decision-making, and debate) and address issues of oppression, social justice, and exclusion, "linking personal issues to those that are local, national, or even global"

focus on concept of social learning, which can go hand in hand with "consciousness-raising," which supposedly always includes creativity and imagination
ex: small arts and crafts industries for self-sufficiency are used to alleviate some adverse excess of globalization
community development and adult education as integral parts to feminist movement in northern Ontario

feminist aesthetic: made connections between oppression and culture, the culture industry and the absence of women's voices as these women developed their own practice to address issues such as violence and poverty
brought together professional artists with residents to collectively create art to explore modern 'myths' and reflect or 'mirror' back their own stories, knowledge, and experiences

A Show of Hands: community art project which prompted reflection, analysis, and discourse on the theme of neighborhood
Quilt Project: alternative space where women's voices could become an integral yet creative part of the public discourse about the future of northern Ontario

outreach beyond those who usually get involved in political work; not activist, but "real women who were really interested in talking about their dreams and their community for the future" (516)

Myths and Mirrors attends to socioeconomic and political issues while at the same time places at the centre the cultural, aesthetic, and creative elements of humanity and community

aesthetic reclaiming or recreation of spaces, filling it with people's visions, artworks, and abilities so they may begin to see themselves and the 'creative possibilities of their own lives in a different light'
conscious effort to use women's arts/crafts and create projects that attract women
make artists socially responsive

artists do more than create art pieces based on input of community; they work to create artists, cultural actors, and agents of socio-cultural change--foster a collective art piece or multiple individually-created art pieces

puts product and process on same level (rather than valuing process more)

since the product is going public, it must be of a quality that makes the creator proud and the audience take notice

make concepts of hope, celebration, and fun fundamental to both their process and product

Common Ground: cultural action as a route to community development (Matarasso, 2007)

view from England
shift in cultural policy from collective to individual outcomes is in line with growing individualization of policy since the 1980s
difficult to work on longer-term community objectives with grants are more often given on a project basis
changes reflected in nomenclature--"community arts" becoming "community-based arts" or "participatory arts"
rural touring networks: establish genuine equality between the partners; effects of empowerment can be seen in those communities that have gone on to promote other performances independently and, more usually, those that have developed other cultural and social activities as a result of the experience, confidence, and skills gained through rural touring
south-east Europe "Living Heritage" program

developed set of guiding principles on the method, intention, and approach
intended to convey that every community has heritage or cultural resources that are important to them, and in respect of which they have unique expertise
necessary that people proposing the project cared about it and could demonstrate a similar commitment in the wider community
wasn't open to applications from existing organizations

aimed to support marginalized and disempowered communities

provided non-financial support in form of formal training, site visits, specialist assistance through local experts, support in negotiating with public bodies, etc.
offered small grants; program had to enable a process of local capacity building and organizational development that would leave each community better able to work collectively toward shared goals

gave funds directly to communities they were working with rather than intermediary agencies or arts organizations

money as form of empowerment, proof of respect

unlike most community arts practice, didn't rely on professionals with artistic/cultural expertise; residents were key players in project implementation

learning process for the participants
strengthened existing community associations and development of new ones
created new ties and partnerships

recognizes intrinsic cultural value of such projects and the broader developmental outcomes they can produce

culture however is not a secondary issue but a way in which to understand and address other problems
focus on community assets not problems

self-managed cultural projects are within people's existing means
art and the community activism it can nurture aren't final solutions to social problems, but they can be tools used in achieving those final solutions

form nucleus of self-determination, even of resistance

Skimmed readings:

A Cost-Benefit Analysis of Arts Education for At-Risk Youth (Silbert and Welch, 2001)

though many support arts education, few are committed to paying for it
five program features most strongly associated with quality: extended in-time program, complementary program components, ties with other community organizations, youth mentorship opportunities, emphasis on performance and presentation
found average cost of "quality arts education program"; while acknowledging prosocial and academic developments associated with such programs, this cost is compared to benefit in dollars of the reduction in criminal activity (and thus court and prison spending) such programs can cause; also compares it to the tax benefit state will receive if these children grow up to have higher-paying jobs due to their academic achievements

Eloquent Evidence: Arts at the Core of Learning (President's Committee of the Arts and Humanities, 1998)

cites facts about how arts educated students score higher on SAT
cites facts about prosocial improvements as they relate to participants in specific arts programs
cited how arts programs can aid in job-preparedness
cites arts as a vehicle to teach other subjects
cited art as particularly useful for at-risk youth

Questions/Comments

What are the problems created by national organizations seeking to have local impacts in specific places? Is it possible to have effects both at home and in these new places? Is that even necessary?

ex: If your organization is reaching out to underserved places, do you really have to have a physical grounding in Brooklyn where you're based from?
How does home-based support affect an organization?

How can these redefinitions of corporate communities be spread to a greater number of arts organizations? How might these organizations accept these redefinitions? Do corporations actually want to be considered as communities, or do they want a more removed role (get their name on as sponsors and nothing else)?

Can this be carried over to discussions of corporate sponsorships at festivals?

possibility for contradiction between addressing community needs rather than claiming to be some general panacea and creating developmental rather than remedial impacts

claims that positive development is more successful that remedial solutions in arts impacts

For festivals, are jazz/blues/bluegrass actually the most played at festivals, or did this study not consider more 'corporate' music festivals (Bonnaroo, SXSW, etc.)

How does this statistic relate to other studies which have found interest in jazz to have decreased--is it that people aren't realizing they're listening to jazz, that it's not displeasing so it's played more at these festivals, or are these festivals appealing more to older crowds?

How can arts organizations use what has been learned from outdoor arts festivals to diversify and broaden their own audiences?

How do these festivals impact the other programs some of these organizations put on? Are their other programs more likely to have some spillover effects from the festivals?

What are the problems and benefits created by Myths and Mirrors focusing on "women's crafts/projects"? Is this limiting participation? Is this reinforcing stereotypical gender-norms? Or is it attracting people who wouldn't often involve themselves in the public sphere and voice their own opinions?

Can an equal balance actually be achieved in value given to process and product? in attention given to socioeconomic and political issues verse aesthetic and creative development?

How do international approaches and intentions of cultural community development differ from that in America?

Why do these differences exist?

How can self-managed cultural projects be made possible when outside sources are in fact involved in some way?

Are the outsiders meant to instigate projects then step away? How do they help with management and oversight while the project still claims to be "self-managed"?

How can cost-benefit analyses and other more typical policy evaluations be used to promote the arts in the public realm?

Tuesday, March 15, 2011

Community Art: Public Art - Week 7

Making Exact Change: How U.S. arts-based programs have made a significant and sustained impact on their communities, A Report from the Community Arts (Cleveland, November 2005)

field of art-based community development has shifted from focusing on beautification, quality of life, and community animation in describing their work to addressing conflict resolution, public safety, economic development, and community revitalization
methodology of research involved research review, field survey, site research, case studies

case studies should be attached in picture

community art defined as "art that is made with, for, and about the communities they serve"
findings

cross-sector arts partnerships produce expanded definition of success; expand the "we" involved
productive community programs have a good organizational and support structure, are patient and adaptive, promote partnerships and networking, value process as much as product, celebrate their history, practice community building
commitment to community can be shown through reacting and readjusting based on community feedback
community arts are often considered in terms of community cultural development (help developmental and aesthetic goals)
community arts programs produce leadership development as a natural byproduct
commitment to community engagement as responsibility not strategy; community relationships are integral to art production and presentation
mission values informed by practice
involve multiple generations
emphasize trust and respect
pursue sustainability
work really is relationship-based: work is community-defined
ownership should devolve to community
learning for leadership/staff happens on the job; non-traditional hiring practices strengthen diverse workforce
communities of interest and program intentions are clearly defined
real-estate ownership provides stability and credibility
free-labor is expensive
addresses lack of research and evaluation
high turnover of labor--people get burned out; there's few examples of stress- or trauma-mitigation programs for their staffs
leadership transitions can be difficult

discussed possible further steps to delve deeper/expand research and improve the support structure for community-arts programs
appendix includes questions and survey materials used when conducting research

“Arts Programs for At-Risk Youth: How U.S. Communities are Using the Arts to Rescue Their Youth and Deter Crime” (Americans for the Arts)

claims that arts programs can help youths find their hidden talents build critical self-discipline, communication and job skills
details problems that face teens of today, including school dropouts, violent crimes, and gun possession
claims arts programs are more cost-effective approaches than other traditional programs (Midnight Basketball, boot camp)
focuses most programs on positive development (don't correct problems, give kids the tools to correct them themselves)

improvements/new skills for youth should have long-term benefits
fix predicators to fix the problems

did a longitudinal study of 25,000 students; found that arts lead to greater success in school, regardless of economic status

impacts:

decreased truancy
increased percentage of high school graduates and college-goers
decreased levels and intensity of juvenile crime; fewer incidents of repeat criminal behavior
improved youth's attitudes about themselves and their future

what draws youth to these programs?

thrill of creative and artistic expression

address similar needs of graffiti in this way

community recognition of their work
learning of new job skills
use of arts as a means to communicate difficult thoughts and emotions

many federal agencies will fund arts programs for at-risk youth
features "5 steps to get your program off the ground"

involves reaching out to other organizations and community members and seeing what's already out there--particularly to see if there's a group already doing what you want to do or a group who would be beneficial to partner with

Art spaces, public space, and the link to community development (Grodach, 2009)

argues that art spaces function as public space and that these spaces community development potential can be expanded with greater attention to this role

for the most part, all of these art spaces are indoors, which is a different conception of public art spaces that what one might normally imagine
spaces serve as art school, resource and outreach center, and community gathering space in addition to presenting art; work closely with local artists and communities; build upon local assets, generate economic revitalization, and assist in the development of artistic careers
conception as public space can be problematic as public space can bring certain groups of people together while sometimes excluding others

inclusivity in public space is difficult to actually achieve

by strengthening the safety and attraction of their environments, public art spaces can then prompt economic development as a result of the community development and bonding this brings about
attributes of public art spaces

mission statement of these spaces sets the stage for understanding its public space characteristics
variety of programs in facilities designed to handle multiple activities

active and diverse schedules even in places that can't hold events for large numbers of people
often will use space for community meetings and special community events

partnerships with local organizations further engagement with community; some also form partnerships beyond their own community
location: most have not built their own building; many have adapted to older buildings

because of high rent prices, most cannot afford to be in the vibrant commercial areas of cities; can sometimes be perceived as being in dangerous areas even if the spaces themselves are free of crime
location is crucial in determining access and the perception of access among possible visitors

access: most are accessible via public transportation, but most are still built with access by car as the primary means; more support must be given to alternative forms of transportation in order to attract a great variety of visitors/participants

roles as public space:

attract and represent diverse audience
create opportunities for community engagement and interaction within and between groups

even those that don't come together in production can come together in space

provide venue for underrepresented groups to enhance their visibility
become a nucleus for more individualized communities
generate local economic activity

can strengthen and reinforce social networks in wide arts scene
can attract people to a neighborhood who will then spend money there
most successful when there is a clustering of compatible activities in terms of economic and social activity

can enhance perception of a surrounding neighborhood as a safe place

weaknesses as public space:

some unintentionally isolate themselves from their surrounding community
some try to appeal to every possible interest group and, in the process, risk alienating important constituents
diver programming does not guarantee broad representation or that different groups will interact
accessibility is a major concern, especially in terms of transportation to the space, handicap accessibility, perceived lack of safety of the location, and the need for family care/activities

Public Art and Urban Regeneration: Advocacy, claims and critical debates (Hall and Robertson, Jan. 2001)

public art claims: help develop sense of identity, develop senses of place, contribute to civic identity, address community needs, tackle social exclusion, possess educational value, and promote social change

also contribute to local distinctiveness, attract companies and investment, have a role in cultural tourism, add to land values, create employment, increase use of open spaces, and reduce wear and tear on buildings/lower levels of vandalism

1980s: vast expansion of arts infrastructure, became more linked with public sector

"percent-for-art" policies

heavy criticism as "corporate baubles"
doubts about equitable economic development and art's endorsement of come environmentally damaging and socially exclusive development
developed on economic basis

local authorities and independent commissioning agencies commissioning public art
communities and social activist groups committed to communal regeneration

developed on social basis

public art: "It's about community building, not simply building something for the community"

shift in function to deal with aspirational values of community and constituencies
four values fundamental to community development: shared history, identity, needs, and aspirations
can promote senses of community and, in practice, actually strengthen community ties by bring people together in the process of its creation
in addition to "static art," festivals and other arts project have similar effects
public art as catalyst and conduit for generation and communication of social discourse
participation is key in social development claims

ability to develop sense of place can be founded on commemoration of events or aspects of local history; can also create unique physical identities for certain spaces

strengthen the bonds between people and place to strengthen the bonds between people
critique: some people may feel excluded based upon what is being remembered/celebrated

questionable if public art has the ability to create a unifying civic voice
public art can address physical and some economic and psychological needs of communities
possibility for public art to be exclusive, though they can in some ways be inclusive in their process, and this usually makes them seem less exclusive in their presentation
public art projects can have an educational value, either by having educational programs or having art work with an educational capacity on its own
provocative public art is said to promote social change, often by raising awareness of certain issues
four broad critiques of public art:

lack of satisfactory evaluation of the claims of public art and of a rigorous critical apparatus
essentialism of much advocacy
lack of critical intervention in much public art practice
fundamental flaws of the technocratic advocacy of public art

also:

complains about the blandness of some public art; in trying not to disturb anyone art which isn't particularly appealing to anyone is created too often
discusses exclusionary ability of some corporate public art

need for research on public art to address empirical, policy, structural, civic, and ideological questions

Just Art for a Just City: Public Art and Social Inclusion in Urban Regeneration (Sharp et. al., 2005)

addresses how public art can be inclusionary/exclusionary as part of the wider project of urban regeneration
exclusionary public art in the colonial city

art that celebrates imperial control, fosters political reaction and the will to de-commemorate alien rule
can sometimes lose its meaning with the passage of time

public art often masks the political outcomes of its generation and presentation; posits itself as politically neutral
inclusion: should it be an end or a means to an end? under what conditions does it contribute to a sense of democratic ownership over the inscription of urban spaces?
public art: art which has as its goal a desire to engage with its audiences and to create spaces--whether material, virtual, or imagined--within which people can identify themselves, perhaps by creating a renewed reflection on community, on the uses of public spaces or on our behavior with them

focus in this paper is on visual public art

in addition to typical claims of public art, mentions that authorities can use public art to signal their willingness to deal with social and environmental problems

question of whether public art which "settles" conflict actually enhances the community
critiques public art's trend recently to avoid controversy

problems of exclusion

urban economic restructuring is often accompanied by deepening socioeconomic inequalities
there's currently no real proof that public art produces social inclusion
characteristics of (ideal) inclusive city

gives expression to multiple and shifting identities of different groups
avoids the cultural domination of particular elites or interests

inclusivity is important al the various stages through which participation in the public art process can take place

Can public art make urban development more just by addressing the following issues?

non-recognition: reclaiming place and recognizing the past

public art does benefit from its visibility, use it to remember/validate histories/marginal groups
important to remember that, like notions of community, artwork can have the ability to transcend specific geographical locales
should include people in product and practice

disrespect: giving voice, countering the stereotype, and rediscovering the margins

marginalization results in both invisibility and inaudibility
giving people a voice in and ownership of public art can help to empower them and to make the artwork more sustainable

can be hard to get multiple voices involved in the process to agree--problematic

involving communities fundamentally in the process has a much greater effect than just asking them for their opinion

difficult to achieve at the city-wide level

public art can rebrand a city's image
danger of gentrification as community becomes re-aestheticized

cultural domination and the arts of resistance

claim that "city beautiful" is constructed to hide incompatibility of development with a free society
problem of where public space is--can any space actually be inclusive?

resistance and regeneration

graffiti and vandalism is a way that those who have been passed over by regeneration can write themselves back into the landscape, refusing to conform to the new urban order; possible that public art can also fulfill this role
attention should be paid to issues of economic redistribution

problems of process

division between public art initiated by authorities and grassroots approaches is messy
question of what responsibility artists should have to the community in which their artwork will be displayed

some artwork interferes with daily life, can't be avoided as art in a gallery can

context and community involvement are very important

lack of research

hard to outline methods of "good practice," provide credibility to claims about social impact, and make affirmations of what constitues a "successful" intervention
lack of significant dissent on certain forms of public art may be read as support for change, but it can also be understood as false consciousness--i.e., the way in which the art was produced/presented convinced citizens that their interests are equivalent to those of dominant economic classes

"The capacity of public art to foster inclusion is at best partial, able to address symbolic more than it is material needs." (1021)

Questions/Comments

what happened during the past 25 years to change the intention/goals of community arts organizations, i.e., the impacts they claim they're having? was it because that's what funders were responding to?
Why exactly are arts programs more cost-effective forms of programs designed to benefit at-risk youth?

since these are mostly positive programs, youth not considered to be "at-risk" for the most part could benefit from these programs just as easily--great way to form job and leadership skills and have an outlet for creativity/expression
the "hidden talents" these programs help youth to fine do seem to be more than creativity; does it hurt these programs to focus on the other benefits, as many have to do in order to receive funding?
How do the impacts of these programs affect community development?

possibly... safer environment, greater opportunities for employment (higher academic achievement and job skills), and (depending on the program) community clean-up and beautification

If art spaces do indeed function as public space, how should this aspect be promoted in order to make more people feel invited into the space and feel like it's a place for discussion and collaboration? What are ways to foster inclusitivity or, more importantly, to make different groups of people gather in one place at the same time?

should all community arts programs focus on bridging the gaps between different groups of people? or should they focus on one role of community outreach/partnership/involvement?

How can public arts spaces in "dangerous" areas prosper? How can they create sustainable community development?
What exactly are the dangers of technocratic advocacy of public art?
What ways other than process can community be involved in public art? What other opportunities are there for collaboration or more simply bringing people together?
How can public art begin to address material needs over symbolic issues? Is there a way for the symbolic to actually have effects on the material? If so, how can that be promoted?
What responsibility do public artists have? How can they make art for a community without creating "bland" art? Is there a way to make interesting and unobtrusive art? How does the actual art, regardless of its process, impact the community?
Is there any way other than luck to have art-based cultural/social/economic development without gentrification? At what point does "people being attracted to the community and spending money there" become a problem of gentrification? Can a balance be reached?

Tuesday, March 8, 2011

Museums and Communities - Week 6: MASS MoCA Case Study

Mill Town, Factory Town, Cultural Economic Engine: North Adams in Context (Oehler et. al., 2006)

social context is important in understanding the community effects of a cultural organization
MASS MoCA comprises one-third of North Adams' downtown business district (in terms of land)
article uses first person accounts to give the history of the factory and to provide personal experiences of the townspeople in the days before MASS MoCA
the perception of North Adams has changed greatly from one century to the next as it changes from a center of industrialization to a place of "post-industrial decay"
North Adams possessed rich architecture
1942: Sprague Electric "recycles" Arnold Print Works factory

workplace was a community in its own right
factory employed a majority of the residents of North Adams; you either worked there or knew someone that did (likely a member of your own family)
company began to demise in late '60s-'70s, mostly due to a realignment of senior management and a 10-week strike
closed in 1985

1968: North Adams government began urban renewal program

actually brought destruction; would destroy buildings downtown without actually renewing anything
cited as 'breaking the spirit of North Adams'
wrecking ball became central image of town
caused economic downturns because businesses that relocated during program did not return

North adams began to see large amounts of poverty, a decline in the quality of education, and unemployment; became poorest community in area
article's use of maps helps to bolster important points
MASS MoCA's goals: bring economic expansion to North Adams and bring the best of contemporary art to the public

mayor was behind the plan "from day three"
connection with Guggenheim: positive and negative consequences

now, while part of the Guggenheim, it is not branded as a Guggenheim museum

due to poor economy, project's political backing collapsed; project needed to find private support, which it did
town was generally very receptive to the idea and were happy that the building would finally have a use after sitting dormant for so many years, but the press tended to be against the idea

Boston Globe: project is "preposterous, and completely devoid of artistic and economic logic"

developed partnerships within Berkshire County and developed a plan to become more interdisciplinary
MASS MoCA has helped to develop (directly/indirectly) new sources of local pride

MASS MoCA runs largely on earned revenue and private donations
called a "case study for urbanologists and politicians seeking to revive failing cities" and "a compelling, haunting overlap of adaptive reuse and neighborhood vitalization"
according to mayor, the town now attracts new and young businesses and artists and has experienced an increase in housing values, however they say they have not really experienced problems with gentrification
MASS MoCA has shown it can be a catalyst for ongoing community improvement

Culture and Revitalization: The Economic Effects of MASS MoCA on its Community (Sheppard et. al., 2006)

ethnographic and anecdotal evidence suggests that the most important signs of community development impact are at the neighborhood level

National Neighborhood Indicators Partnership (SIAP is a member)
Americans for the Arts and Creative Economy Council also provide information on economic development through cultural and artistic activities, but not usually on the neighborhood level
article discusses advantages and disadvantages of certain models for economic analysis

creation of ideas and culture is an important part of today's economy
MASS MoCA's spending is largely recirculated throughout the community; has direct, indirect, and induced effects
MASS MoCA brings almost 100,000 visitors in town, has led to an increase of 230 jobs, benefits various sectors of the economy (even the medical profession)

an increasing number of people spend the night in North Adams, especially compared to other local towns

MASS MoCA's operations result in almost $2.2 million in taxes a year, which help offset the government spending initially invested in this project (high return on investment)
after MASS MoCA opened, the community became a more desirable place to live (seen in rising housing values near museum/downtown)
gentrification has not yet become a serious problem in North Adams; this may be due to the relative abundance of affordable housing due to the town's history of population loss
North Adams now has more businesses with more employees

these new jobs have not been dominated by low-wage, low skill occupations; average salery per employee has increased

thus far, "all of the economic impacts of MASS MoCA are positive... on the local and regional economy." (22)

positive impact is clear out to 1.7 kilometers

Downside UP (documentary on MASS MoCA and North Adams) (2003)

the director, originally a resident of North Adams, gives a general history of North Adams and particularly the building that now houses MASS MoCA up through MASS MoCA's first year of operation
her main point seems to be that before MASS MoCA and after the closing of Sprague Electric, the town seemed to imbue a sense of hopelessness in its residents which could follow them even after they moved out of North Adams; now she sees possibility that children in North Adams will grow up with positive memories of their town

beach in the street project (meant to allow kids to be creative)

not all residents really appreciate the art inside the museum; some say they'll never visit it more than once, though others claim that the more they visit it the more they become more accepting of and intrigued by the art
museum has prompted new projects, such as the opening of various restaurants and the Porches Inn
there were many problems in getting the museum to actually open, particularly funding, yet the museum was able to raise money and eventually get the support of the state
residents do seem for the most part to appreciate what the museum has done for the community, even if they don't appreciate the museum itself

there does seem to be some question of gentrification and how buildings of some importance to the community are being torn down
one resident commented that they would rather be worrying on how to keep housing prices affordable than trying to keep any/all residents within the town

Visit to MASS MoCA/North Adams

both tours (Sol LeWitt and general highlights) mention some history of MASS MoCA and North Adams and the MASS MoCA building

general highlights tour specifically mentions economic impact museum has had on community (30% occupancy downtown before opening vs 90% occupancy today)
shows general understanding of community in which museum is located

lobby offered postcards/pamphlets about other arts organizations/cultural business downtown, cultural/tourist attractions in the area, lodging information, etc.

parking lot had map of downtown North Adams to show visitors where certain amenities and businesses were located

actual art/exhibitions in museum had very little to do with community; community did not seem present in the process of the exhibitions either

did seem to employ community members in cafe/as security guards

artist co-op was located on main drag in downtown North Adams, as well as galleries and a theater

businesses were closed the day/time I visited, most likely because it was a Sunday

the homes in the area in the .5 mile or so surrounding the museum did seem significantly nicer than homes further out from museum (such as those between North Adams and Adams)
the museum did do a good job via tours and pamphlets to provide context and a general understanding of the artists/art works; the fact that this information was in pamphlets was especially helpful because it meant visitors could take the information home with them

Friday, March 4, 2011

Museums and Communities - Week 5

"High and Low: Partnerships Among Museums and Community-based Arts Organizations" (Brown, 2009)

new trend among museums and community-based arts organizations to build long-term relationships rather than short-term ones (such as for creating one exhibit)
partnerships allow opportunities to find new solutions to problems of funding, access to resources, and perception of value
"My Community Matters": students, working with teaching artists, produce different types of art about their communities and present it within the Chicago Children's Museum

CCM: move of building would promote a greater access to the space for people from all socio-economic backgrounds

Yollocalli Arts and National Museum of Mexican Art: Yollocalli provides arts education and career-training programs to youth; started by museum and thus addresses/expands the museum's mission

will often play off exhibits at museum as it addresses needs of youth
dealing with gentrification: find ways to link "arts access" and "high art," in this case through cultural commitment to Mexican community

Wallace Foundation Partnerships: Community Arts Partnership, between university, community, and youth

partnership defined as "coordinated collaboration between two or more parties to achieve a common goal... each participant also commits resources, such as financial assets, organizational capacity, public image and constituency characteristics"
through providing funding, funders can "articulate and sustain a vision for the community that can motivate support for change"; usually funders aren't considered "active" within partnerships, but they do often dictate certain principles of the projects

Nine to Nineteen: Youth in Museums and Libraries: A Practitioner's Guide (IMLS, 2008)

cite research that youth are less likely to engage in risky behaviors when connected to community institutions
claim libraries and museums possess assets of rich content, expertise, community trust, and quality learning environments

provide leadership opportunities, access to technology, career development, and family/community connections

focus on positive youth development

contrasts with "deficit-based" programs that focus on solving certain problems
favor leadership and skill-building opportunities

successful youth programs are based in strong commitment; involve youth at various levels of program development, execution, and evaluation; partnered with other community organizations, and fulfill a need not currently being met

address problems/events within your community--focus on what makes it special/unique
use census data to understand your demography
LISTEN to the community
understand obstacles
find ways to involve youth as leaders/ambassadors/other gratifying role

prove to them the value of their work

article provides conditions for successful partnerships (19)

mentions sports clubs as potential partners, as well as many other institutions and groups
evaluation should be used not only to measure contribution and impact, but also to find ways to refine the services offerred and to share your experiences with others who may learn from them
different groups highlight different needs of youth

4-H: Need to Belong, to Master, to be Independent, to be Generous
focus on integrating family, school, and community efforts
Richard Lerner: competence, connection, character, confidence, caring/compassion, and constribution

defines specific ways to measure development in physical, intellectual, psychological/emotional, and social ways (27)

"My Life in Museums: The Importance of Community Outreach and Teen Programs" (Zwicky, 2010)

free art class provided very different setting for learning as compared to "oppressive" school building; began taking much more interest in assignments and working much harder within the art class
joined Teen Arts Council: gained personal involvement with artists and other staff within the museum; museum began to attract more teens
confidence and real-world experience gained from working within museums seems to have affected positively his ability to go to college and do well

became involved in education and community/access aspects of museums; now works with youth and teens much like himself

Marit Dewhurts (Teen Programs at MOMA): "Museums offer unique spaces for having complex conversations about contemporary ideas that cannot often happen in other spaces, like schools"

museum as space where young people can learn how to understand and use art to influence/instigate social change

cultural institutions as place to develop an identity
duty of cultural institutions to pick up slack created by lack of arts funding/programming, particularly in schools, and "create safe, creative environments for this next generation of artists to flourish"
focus of affecting youth by helping them realize their potential to be artists and to increase their desire to become more involved within school (or possibly other settings)
brief comment to blog that mentions wilderness programs as another avenue to reach similar results of youth arts programs

Art Museums and Socioeconomic Forces: The Case of a Community Museum (Moreno, 2004)

community museums first imagined as vehicles for promoting art and culture of minority communities

differed greatly of conventions of traditional museums
grassroots organizations which attempted to bridge the gap between culture and everyday life
attempt to create arts space for cultural groups marginalized by mainstream cultural sector

case study of Museo del Barrio: three stages

community-educational

museum conceived as way for Puerto Rican community to achieve cultural rights and as an education center to expose community (particularly children) to its culture and history
received funding from education department of city
educational mission
wanted to create a sense of pride, a cultural identity
exhibitions and programs were centered around community
located within heart of community for easy accessibility
focus on folk/traditional arts

museum-gallery

declaration of non-profit status: board of directors, new eligibility for grant support

shift in focus of museum

focus on becoming more conventional museum to better fit in with museum sector
move of building outside of barrio to 'museum mile'
education became secondary function to curation
expanded Museo to larger Latin American population

partially an act to become eligible for more funding

focus more on fine arts
shift towards individual rather than group exhibit

professionalization: expanded public role?

distanced itself from community roots--in some ways expanded community it was reaching out to; defined as "Latin American museum"

new definition of barrio

had to fulfill need of both education and entertainment to compete in cultural field (520)
commercialization/commodification of art objects
public mission again became a priority
increased linkages of organization with business, legal, government, and cultural sectors
question of whether institution was becoming elitist or truly representing the needs of the Puerto Rican/Latino/a community (523)

legitimacy: gained through conforming to accreditation standards of AAM on collections, exhibitions, and public programs; copy other successful models
the makeup of the board seems to reflect the changes that the museum went through
while started as an alternative, "community museums such as the Museo del Barrio eventually evolved into more exclusive art institutions with a subordinate status in the museum sector" (526)

convert to more professional practices for survival, but lose the base of who they're serving
possibility that marketing and gaining more money on their own will result in greater levels of autonomy, but they may also become subjugated to desires of certain business considerations

Building a Community-Based Identity at Anacostia Museum (James, 1996)

founded on direct community accessibility, identity based on community-centered core
people had different conceptions of what was meant by "neighborhood museum" concept
dialogue concerning museum often focuses on process in addition to completed installations
original identity became very wrapped up in the first director: John Kinard
like Museo, originally a storefront museum

originally intended bring artifacts of Smithsonian Institution to a community not currently visiting the museums on the Mall

knew involvement would only occur "if it is their museum"
wanted to situate museum in a place where qualities of stability and involvement were already inherent

original site used museum employees and members of the community to help renovate it; doesn't discuss but likely gave some community members a feeling they had a stake within the museum
originally, visitors could often touch/handle objects
community group met weekly to plan what museum would be like
originally focused almost exclusively on community outreach and exhibition production; very different from organization of conventional museum
community did saw museum as an emissary of the Smithsonian, but one to share their own thoughts and experiences with the Smithsonian and its public audiences; claimed the museum as their own
early exhibitions often dealt with broad subjects relevant, but not always directly related to, the neighborhood

first place where Smithsonian produced a major exhibition on African-American history and culture
wanted exhibits to be relevant to present-day community
community members were greatly involved in creation of exhibits

interaction with community members began to be confined to education department
absence of collection was central to museum's identity: had to develop community networks for support
shifting idea of museum being more focused on curating the community in a way as the scholarship of the museum came under scrutiny
museum shifted location; still within the community, but not as readily accessible as it had been
professionalization resulted in some loss of the community element within the museum's process (34)
question of whether the museum really ever was a "neighborhood museum"

name change prompted by Kinard

museum began having more traditional indices of success; travelling exhibits, national relationships, etc.
Black Mosaic exhibition: refocusing on community

question of who was included within the museum's community
community once again became heavily involved in process
some were held back from participation because they didn't understand the role/work of the museum
used locally travelling exhibition to raide additional interest in larger exhibition
artifacts of community (of everyday life) used to discuss larger issues
exhibit increased engagement of people within the community, who produced additional initiatives and proposals

new challenge: find ways to integrate community perspectives within existing museum structures
problem of defining institutional identity
future lies in relationships between museums and communities

Questions/Comments

Are there any examples of museums or community arts organizations pairing with sports clubs?
Find examples of the research which has shown that students are less likely to be involved in risky-behavior if they participate in these types of institutions
Are long-term partnerships limiting at all? Should they be 100% preferred to shorter partnerships? How many groups can be involved successfully within a partnership?

How can resources and learning actually be shared two-ways, when one organization might think of themselves as "greater" than their partner?

How can a positive youth development program measure its success if it is not focusing on addressing a single problem? Does this put it at a disadvantage when vying for funding and awareness?
it would have been nice to hear more of Zwicky's story of how his involvement in the arts affected more than his general interest in the arts, how it prompted him to become reinvigorated within the school environment and to gain skills that could be used outside of museum space; this can be extrapolated but would be nice if it was more bluntly stated
How can museums act both as an alternative to schools and as a resource to help schools in some way provide a better learning environment?
How can community museums become financially viable without professionalizing and adopting the role of more conventional museums? How can they preserve and serve their original audiences?
What were the effects of expanding the audience of the Museo? Did the integrity of the museum actually suffer, or were they able to tackle larger issues?
How did the location of the Museo affect the role it played?