problem solving through arts and cultural strategies

PROBLEM SOLVING THROUGH ARTS AND CULTURAL STRATEGIESA CREATIVE PLACEMAKING WAYFINDING GUIDE FOR LOCAL GOVERNMENT MANAGERS

DECEMBER 2020

2 PROBLEM SOLVING THROUGH ARTS AND CULTURAL STRATEGIES

PROBLEM SOLVING THROUGH ARTS AND CULTURAL STRATEGIES 3

TABLE OF CONTENTS

5 FOREWORD

6 INTRODUCTION

9 HOW TO USE THIS GUIDE

10 CLARIFICATIONS ON TERMINOLOGY

11 10 KEY PRINCIPLES OF CREATIVE PLACEMAKING AT ITS BEST

12 THEPROBLEM-SOLVINGPOTENTIALOFCREATIVEPLACEMAKING

13 OFFERSNEWPERSPECTIVESONWHATYOU’VEALWAYSSEEN(ORNOTSEEN!)

15 CULTIVATES THE COMMUNITY’S IDENTITY AND SOCIAL FABRIC

17 EXPANDS AND DEEPENS YOUR NETWORK OF COMMUNITY RELATIONSHIPS

19 ENHANCES COMMUNICATION AND INPUT ACROSS DIFFERENCES IN CIVIC PROCESSES

21 HELPS MATCH THE RIGHT SOLUTIONS TO THE REAL ISSUES

22 DISCOVERING OPPORTUNITIES

28 CREATIVE PLACEMAKING IN SAMPLE CONTEXTS

35 10THINGSYOU(ORYOURSTAFF)CANDOTOTAKETHISGUIDE’SIDEASFORWARDINYOURCOMMUNITY

36 NAVIGATING PROCESSES

37 DEFINING YOUR OPPORTUNITY

41 PREPARING TO PARTNER

46 ASSEMBLING YOUR TEAM

50 STRUCTURING AND SUSTAINING CREATIVE PLACEMAKING PARTNERSHIPS

62 POTENTIAL REALIZED: CASE STUDIES

63 AMPLIFYING DATA TO MOBILIZE CHANGE

70 BUILDING LOCAL IDENTITY IN UNEXPECTED PLACES

78 IMPROVINGGOVERNMENT-COMMUNITYRELATIONSTHROUGHARTISTICEXPRESSION

84 RECREATING PERMITTING POLICY WITH THE COMMUNITY

91 UNEXPECTED APPROACHES FOR IMPROVED OUTCOMES

97 APPENDIX 1: PROJECT ADVISORS

98 APPENDIX 2: SUMMARY OF INTERVIEWS

99 PHOTO CREDITS


ABOUT ICMAICMA,theInternationalCity/CountyManagementAssociation,advancesprofessionallocalgovernmentmanagementworldwidethroughleadership,management,innovation,andethics.Throughexpansivepartnershipswithlocalgovernments,federalagencies,nonprofits,andphilanthropicfunders,theorganizationgathersinformationontopicssuchassustainability,healthcare,agingcommunities,economicdevelopment,cybersecurity,andperformancemeasurementandmanagementdataonavarietyoflocalgovernmentservices—allofwhichsupportrelatedtraining,education,andtechnicalassistance.ICMAprovidessupport,publications,dataandinformation,peerandresults-orientedassistance,andtrainingandprofessionaldevelopmenttomorethan13,000city,town,andcountyexpertsandotherindividualsandorganizationsthroughouttheworld.

ABOUT ARTPLACEARTPLACEAMERICA(ArtPlace)isaten-yearcollaboration(2011-2020)amonganumberoffoundations,federalagencies,andfinancialinstitutionsthatsupportsandstrengthensthefieldofcreativeplacemaking—theintentionalintegrationofarts,culture,andcommunity-engageddesignstrategiesintotheprocessofequitablecommunityplanninganddevelopment.

ABOUT CIVIC ARTSCIVICARTSisanon-profitorganizationwhosemissionistosupportandfostertheintegrationofartsandculturestrategiesintothewaysweenvision,plan,anddevelopjustandhealthycommunities.CivicArtshelpstobringtogetherartists,culture-bearers,andtheirorganizationstoworkalongsidemunicipalandcommunitydevelopmentorganizationsinordertoco-createresponsestocomplexlocalissues.

AUTHORSLauraGoddeeris,AICP,MUPP|DirectorofSurveyResearch|[email protected]

LindsayJacques,MPA|SeniorResearchAssociate|[email protected]

ACKNOWLEDGMENTSICMAisgratefultoArtPlaceAmericaforrecognizingtheroleoflocalgovernmentleadersinthisworkandforfundingthedevelopmentofthisguide.TheauthorsextendourdeepestappreciationtoArtPlaceAmericaDeputyDirectorLyzCrane,andtoCivicArtsExecutiveDirectorLynnOsgood,fortheirextensivesupportthroughoutanadaptiveprocess,andtoourteamofproject advisorsthatshapedtheguide’scontentwiththeirvariedperspectivesandexpertise,eveninthefaceofcompoundingurgentchallenges.Wealsocelebratethepublicservantsandsociallyengagedartistswhoseeffortsarefeaturedthroughoutthisguideandinformedourresearch.

AdditionalthanksareduetoNoah MacMillanforhisoriginalillustrations,andtoourICMAcolleaguesDeliaJones,KathleenKaras,KerryHansen,andTadMcGalliardfortheircontributionstothisproject.

CitedInternetsourceswerevalidasofNovember2020.BecauseURLsandwebsitesareconstantlychanging,wecannotvouchfortheircurrentvalidity.


FOREWORDAsmylifehasbecomemorepublic—inhigh-profilecitymanagerrolesandnowleadinganinternationalorganization—IrealizethatartiscentraltothewaythatIseethings.

AsaboyIspentcountlesshourssketchingthepeopleandobjectsinmyworld.Myartbecamebothanescapefromtheharshrealitiesofmyenvironmentandaportalofsorts.Itwasawaytoovercomemyintroversionandconnectwithotherswhenwordsfailed.

Icontinuetopracticemyavocationtoday.Ilookdeeplyatthefacesofmysubjectsandseefirsttheminutelinesandshadowspresent,butthenIlookbeyondandimaginetheirlives.WhenIstepback,Ibegintoseehowtheseintricaciesconnecttothelargerform.

Iapproachmyworkinmuchthesameway:listeningandcollectingopinionsandexperiencestofindopportunitiesforconnectionthatweren’tinitiallyobvious,usingstorytellingandillustrationsalongwithfactsanddata.

It’samulti-dimensionalprocessthatlendsitselftothecomplexitiesofourworkaspublicmanagers;usingvariedtechniquestodiscoverdifferentperspectivesonanissueandguidingcommunitiestowardcreativesolutionsaimingtoimprovethebigpicture—qualityoflife.

Inlocalgovernment,artandcreativityoccurinplacesmostpeopledon’tsee.Thelightsturnonandthewaterflowsthroughthepipes,butoftencrewsareconfrontedwithproblemsandlimitedresourcesthatforcethemtoideateandcraftasolutioninthemoment.Artiswork,andtheydoitinthefieldeveryday.

Orconsidertheopportunitiestoreimagineplacesthroughartandculture.InthecourseofmytimeascitymanagerofAustin,Texas,theWallerCreekurbanwaterwaytransformedintoavibrantpublicspace,freelyaccessedbypeopleacrossallbackgroundsanddemographics.Surroundedbythebeautyoftherestorednaturalenvironment,peoplecanexperiencesculpturesandmusic,exercise,contemplate,andinteract.

Incurrenteventswheremanagersandtheircommunitiesaregrapplingwiththepandemic,structuralracism,andpoliticalunrest,artbringsustogetherinpowerfulways.Fromresidentssingingontheirbalconiesinsolidarityforhealthcareworkers,tomuralsonthestreetmemorializingthelossofblacklives,theseexamplesmayonlyexistforamoment,buttheytooleavealastingimpactonthecommunity.

Artenablesustocometogetherfromaplaceofempathy,compassion,andconnectiontocreatespacesfornewopportunities.Inspiteofalltheobstaclesweface,there’sgoodandpowerfulenergyincommunitiestobepartofpositivechange.

We’vediscoveredmuchoverthecourseof2020,includingnewinsightsonwhatwe’recapableof.Andthisimpliestheneedtobeopen-minded—opentonewconnections,tonewwaysofworking,tocreativepathwaysthroughthemanychallengesahead.

Thereisnoplaybooktoaddresstheproblemsweareconfrontinginourcommunitiestoday.Aslocalgovernmentmanagerswereachintoourtoolboxandfindthatthestandardapproachesjustdon’tworkforthemyriadcomplexproblemsandtheissuessurroundingequityandinclusionthatweareexperiencingtoday.

Theelementsofcreativeplacemakingoutlinedinthisguideofferyounotaplaybookbutashiftinmindset,toco-creatingnewplans,andnewpossibilitieswithnewvoicesfromyourcommunities.Intappingintotheartistsinyourcommunityandonyourstaff,youwillfindthatallkindsofthingsbecomepossibleandyouwillfindyourwaytodiscoveriesthatyoumightnothaveotherwise.

Asweallfaceanuncertainfuture,considerthepowerofcreativeprocessesinbothembracingwherewe’vebeenandpropellingusforward.Howourapproachtowork—ourauthentic,humble,courageousleadership—isitselfanart.

MarcOtt ExecutiveDirector,ICMA

November2020

INTRODUCTIONThepurposeofthisguideistointroduceprofessionalmanagerstotheconceptofcreativeplacemakingasacompellingapproachtocomplexproblemsfacingcommunitiestoday.Thisguidewillpresentthemaintenetsofcreativeplacemaking,introducestrategiesthatcanbedeployed,addresscommonconcernsandmisconceptionsofthework,providecasestudyexamples,andidentifyadditionalresourcesforfurtherdirectionandinspiration.


M anyturntotheartsasanescapefromeverydaychallenges.Andlocalartsandculturalinstitutionsareoftencelebratedascommunity

treasures.Buthowoftendolocalgovernmentsthinktoinvolveartistsorculture-bearersasmembersofteamsworkingtoaddresslocalproblems,bigorsmall?

Theartscandomorethanjustbeautifyaplace.Artistsandculture-bearerscanfacilitateprocessesthatamplifyresidents’voicesandexperiences,buildtrustandenablecollaborationacrossdisciplinesandsectors,revealfreshperspectivesonpersistentchallenges,activatecommunityassets,andfosterastrongersocialfabricandsenseofidentity.

Americansarelivinginatimeofheightenedawarenessofcriticalfunctionsforwhichlocalgovernmentsareresponsible;theconsequencesofracial,income,andpowerinequities;thefragilityoflocaleconomies;therisksandrewardsofbuiltandnaturalpublicspaces;thepowerofcommunityandrelationships.Atimethatinvitestheuseofcommunity-informed,creativeprocessestofostermoreequitableandresilientoutcomes.

Creativeplacemakingstrategies—problem-solvingapproachesrootedinartsandculture—havehelpedcommunitiesthroughoutthenationtacklecomplexchallengeslikerepairingpoliceandcommunityrelations,addressingenvironmentalinjustices,confrontingthethreatofgentrification,andimprovingservicedeliverytothosewhomayhavebeenleftbehind.Today,thesetypesofoutcomesareevenmoreessentialforcommunities.


Creativeplacemakingistheintentionalintegrationofarts,culture,andcommunity-engagedstrategiesintotheprocessofequitablecommunityplanninganddevelopment.

Thisisaboutmorethanpublicmurals,festivals,orbistrochairsandstringlights.Workingincollaborationwithlocalgovernments,artistsandculture-bearersusetheirtalentstoengagethecommunityineverythingfromidentifyingissuesandsettingprioritiestofacilitatingprocessesanddevelopingsolutions.Thecreativeperspectivemanifestsinmanyforms—throughartisticmediumssuchaspaint,dance,theater,sculpture,ordesign,butalsothroughstorytellingandlanguage,food,andothertypesofculturalexpressionandidentity.Whenintentionallyintegratedaspartofaprocess—notjustanendproduct—theirstrategiescanfacilitatedeeper,authentic,andunexpecteddialogue,andconstructivelychallengethewaylocalgovernmentshavehistoricallyviewedanissue.

Somuchofgovernmenthappensinmeetings.Butimagineifinsteadofatypicalstaffmeetingorpublicmeeting,employeesandthecommunitycametogethertoshareadifferent,interactiveexperience—aperformance,ameal,agame,ademonstration,anartproject—andstilllearnedabouteachother’sperspectivesonanissueandwhatmightneedtobedoneinresponse.Thisguidewillhelpyouconsiderhowartistsmakesuchanapproachpossible.

Byallowingartiststoimpacttheplanninganddevelopmentofnewprogramsorprojectsearlyon,innovativeengagementstrategiescentraltocreativeproblem-solvingharnesscommunityknowledgetocreatemoreequitableoutcomes.Notonlycantheyofferasafespaceforhistoricallyunderrepresentedcommunitiestoparticipate,theycanamplifyandhonortheirheritageandperspectives.Outcomescanthenreflectaholisticunderstandingofthecommunity’spast,present,andfutureidentity.


HOW TO USE THIS GUIDEWedevelopedthisresourceorientedtoageneralistmanager’sperspective,aimingtoprovideguidepostsforconsidering,launching,orcontinuingacreativeplacemakingjourneywithyourstaffandpartners.Throughouttheguide,youwillfindpointerstoothertypesofresourcesthatmaybehelpfultoyouandyourstaff.Someprovidefinerdetailonresearch,process,orspecificsectors;someallowyoutoexperiencemultimediahighlightsofprojectsreferenced;someprovidetoolsandtemplatesyoucanadaptforyourownuse.Inaddition,wesuggestactionsorquestionstohelpyouapplyideastoyourowncommunity.Lookforthefollowingtagsthroughouttheguide:

DIVE DEEPERHighlightsfurtheraction-orientedreading.

TAKE ACTIONHighlightstoolsorconcretestepsyoucantaketoadvanceaconcept.

TAKE A TOURLinkstoprojectwebsitesorexistingcasestudies.

ASK YOURSELF Questionstostimulateyourthinking.

Todirectlyaccessresourceslinkedthroughoutthisguide(indicatedbythis formatting),downloadthepdfavailableaticma.org/creative-placemaking.

Footnotescreditotherexistingliteraturethatinformedthisguidance.

Onemorenoteofpreamble:werecognizethat—asyou’llsoondiscover—therearealotofnuancestothecreativeproblem-solvingapproachcoveredwithin.Ifthisisnewtoyou,weencourageyoutoreadforinspirationandguidance,notforalistofrequirements.Itisnotonlyfine,butoftenadvised,tostartwithsmallideastotestoutnewwaysofworkingwithartistsaspartners.Aswithanyprocessgroundedininnovation,itisajourneyandtherewillbebumpsintheroad,butthedestinationandwhatyoulearnonthewaymightjustbeworthit.

“ We tend to focus on the technical aspects of our work and lose sight of why we got into public service in the first place. Conducting this work in my community was a great opportunity to take a painful part of our past and turn that into a positive future that the whole town could get behind. But that process was a very difficult one personally, and there were many nights that I had to dig deep and remind myself that the whole reason I wanted to do this job was to help develop a genuine spirit of community throughout the town. Engaging in this work is the difference between ‘administration’ and leadership.”

Michael Herbert Town Manager Ashland, Massachusetts


CLARIFICATIONS ON TERMINOLOGYAsthisguideunderscoreswithitslinkstoadditionalresources,muchhasbeenwrittenoverthepastdecadeabouttheconceptofplacemaking,andspecificallycreativeplacemaking.A2010whitepapercommissionedbytheNationalEndowmentfortheArts’MayorsInstituteonCityDesignofferedaninflectionpointintheconversation,emphasizingthevalueartsandculturalactivitiesaddtocommunitylivabilityandeconomicdevelopment.1Sincethen,leadingpractitionersandsupportershavecalledforamoreexplicitfocusonequityinbothprocessandoutcomes.Ina2017essay,CarltonTurner,thenexecutivedirectorofregionalartsserviceorganizationAlternateROOTS,writes:

Toooftenthecaseforcreativeplacemakingismadethrougheconomicindicatorssuchasjobscreated,propertyvalues,andnewbusinesses.Theseindicatorsdriveinvestmentandserveasbenchmarksandmeasurementsofacertaintypeofsuccess.Thisfocusoneconomic-drivenmeasurementisproblematic,especiallyinlightofthefactthattheincomeandwealthgapsinourcountryhistoricallydivideacrossracialandethniclines,andonlycontinuetowiden.Butthecommunityisalwaysthere,theyarealwayspresent—theirconstantpresence,energy,labor,andrelationshipsarepartofthedarkmatterthatholdsthecommunitytogether.Itisuptoindividualsandinstitutionswithfinancialandmaterialresourcestomakethechoicewhethertoseeornotseethem.Choosingnottoseethecommunityinitswholeness,includingthedarkmatterthatholdsittogether,leadstoinequitableandunsustainabledevelopment.2

Astheconcepthasgrowninnotoriety,sohaveitsmanypermutations—includingplentyofexamplesthatfocusheavilyonreplicatingactivities,butdonotalwaysintroducethelevelofintentionalitythatmanyofthebestcreativeplacemakingprojectsembody.JimWalker,executivedirectorofBigCarCollaborative,anartsanddesignorganizationbasedinIndiana,describesthedistinctioninhisessayonplacemakingandvibrancy:

Ifsomebodycompleteswhattheysayareplacemakingorcreativeplacemakingprojectsandtheydon’thavepictureswithpeopleinthem,whatthey’velikelydoneisbeautification,orcreativedecorationprojects.Placemakingisaboutsettingthetableformakingthingshappenforhumans;itisaboutmakingplacestodothings.Itisn’taboutmakingthephysicallocationpassivelyartsyorpretty.Itisn’taboutinvolvingartiststoputalittleicingonthecake.Addingsomedecorativeelementstoavacantlotoroldbuildingandthenwalkingawaywillmakethingsnicerforthosewhopassby.Butthisdoesnotcreatetruevibrancy.3

1 AnnMarkusenandAnneGadwa,Creative Placemaking.NationalEndowmentfortheArts,2010, arts.gov/sites/default/files/CreativePlacemaking-Paper.pdf.

2 CarltonTurner,“EquityinPractice:StrategiesfromAlternateROOTS’HistoryofCreativePlacemaking,” How to Do Creative Placemaking,NationalEndowmentfortheArts,2017.

3 “WhatisCreativePlacemaking?”ReconnectingtoourWaterways, americansforthearts.org/sites/default/files/ROW-Creative-Placemaking-handout.doc.pdf.


Recognizingthevastnetworkofexistingresourcesreferencingthisterm,andthatithasbecomearallyingcryforpractitionersfrommanydifferentsectorstocometogetherinanewwayofworking,itsusecontinueshere.Butitisimportanttounderstandthat“creativeplacemaking”;ismorethanjust“placemakingplusart;”it’snotaboutcreatingaplaceandthenaddingamural,it’saboutinvolvingartistsfromthebeginningindecision-makingprocesses.Andnotall“creativeplacemaking”effortshavecenteredtheirfocusonequitableoutcomes;someinitiativeslabeledassuchactuallyringholloworatworst,exacerbateinequities.Theexamplesandtipsincludedinthisguidearemeanttohelpclarifyandillustratethepotentialofcreativeplacemakingwiththebestofintentions,asitisunderstoodtodaybyleadingpractitioners.

Finally,embeddedinthe“creative”aspectofplacemakingarenotjustartistsofallforms,butculture-bearers—thosethatholdandcantransmitexperiences,values,andcharacteristicsofacommunityofidentityorplace.Wherethisbroadconceptofartistsandculture-bearersisshortenedto“artists”forthesakeofreadability,assumeittobeall-encompassing.

10 KEY PRINCIPLES OF CREATIVE PLACEMAKING AT ITS BESTTheprinciplesbelow,inspiredbyextensiveresearchandoutreachcommissionedbyleadingadvocatesandsupportinstitutionsofthefield—ArizonaStateUniversity’sHerbergerCenterfortheArts,ArtPlaceAmerica,theKresgeFoundation,andtheNationalEndowmentfortheArts—summarizecurrentidealsofcreativeplacemakingpracticescenteredinequity.4

1 Thecommunitydesiresthechangeenvisionedand communityexperiencedrivestheprocess.

2 Thepartnershipaimstoexpandopportunitiesandaddressbarrierssothatmembers ofthecommunitycanexpressideasandexperiencebenefits.

3 Theprocessconsidersandaimstoaddressimbalancesof powerandinfluencebetweenpartnersandstakeholders.

4 Communityassets—people,institutions,history,culture,andsolutions— arerepresentedandvaluedinacommunity-drivenprocess.

5 Theprocessandpartnershipbuildreciprocalrelationshipsoftrustandrespect,listeningcarefully, andworkingtogetherwithflexibility,agility,andpatience.

6 Artistsarevalued,respected,andcompensatedfortheir uniqueabilitiesandcreativeproblem-solvingskills.

7 Thepartnershipintentionallyconsiderstheselection oflocalvs.non-localpartners.

8. Theworkincludespartnershipsacross disciplinesandsectors.

9. Theworkrecognizes,highlights,andcontributes tothenarrativeofaplace.

10. Evaluationoftheworkconsidersbothprocessandoutcomes,qualitativeand quantitativeindicatorsofsuccess,andpublicandartistperspectives.

4 MargyWaller,“HowDoWeKnowIt’sCreativePlacemaking?Let’sTalkAboutOurSharedValues,”ArtPlaceAmerica,2019, artplaceamerica.org/blog/lets-talk-about-our-shared-values.


THEPROBLEM-SOLVING POTENTIAL OF CREATIVE PLACEMAKINGLocalgovernmentmanagers,workingwithelectedcouncilsandprofessionalstaff,areatthecoreofbuildingequitable,resilient,andlivablecommunities.Inthewakeofcompoundingnationalandglobalcrises,theseobligationshaveneverbeenmorecomplexandurgent.

Butfindingnewapproachestopersistentchallengesneednotfeeloutofreach.Acreativeapproachtoplacemakingandproblem-solvingaddsnewtoolstothemanagerandstaff’stoolbox,andoffersmultiplereturnsontheinvestmentoftime,energy,andresources.

Fivewayscreativeplacemakingpromotesmoreinclusive,equitableapproachestopersistentproblemsarebrieflydescribedinthissection.Moredetailontheexamplesprovided,aswellasotherprojectswithsimilarthemes,canbefoundinthe“Potential Realized”casestudiessectionofthisguide.


OFFERS NEW PERSPECTIVES ON WHAT YOU’VE ALWAYS SEEN (ORNOTSEEN!)THE SCENARIO Needing a fresh pair of eyes.

THE OPPORTUNITY Artists often provide new ways of looking at your community—both its assets and its challenges.

Theimpactsofenvironmentalpollution,gentrification,andsystemicbiasareunevenlydistributedwithinourcommunities,andsuchroutinegovernmentalservicesaspublicsafetyandwatergolargelyunnoticedwhentheyarerunningsmoothly.Thefullconsequencesofnegativeexternalitiesandcommunitytraumaareoftenobscuredfromthegeneralpublicenoughtomakethemeasytoignore,nomatterhowdetrimentaltheymaybe.Managersmaystrivetoreconciletheseissuesbutcanstruggletofindsupportwhenresidentsdonotunderstandtheirfullmagnitude—andtheconversecanbetrueaswell,withresidentscallingforchange.Itcanbedifficulttogainthepoliticalwilltofundtacklingtheseissues,sotheypersistandcontinuetoholdthecommunityback.Usingcreativeprocessestomaketheinvisiblevisiblecanjustifyreallocationofresourcesandinspirethecommunitytorallyaroundaresolution.


CONSIDER THIS

Yearsofcorporatedumpinginthe1970sleftAshland,Massachusetts,withanEPA-designatedSuperfundsitethattheyarestillrecoveringfromover40yearslaterwithnoendinsight.Muchofthecommunitywasseeminglyresignedtolivingwiththisreality,despitetheacknowledgmentofaknownpublichealthhazard.AlocalartistwhowitnessedfirsthandthedevastatingimpactsofthiscontaminationusedEPAdatatoshedalightonthehiddenpollutantsthatstillimpactedAshland’swatersupplybyincorporatingcoloredstreetlightsthroughoutthetownthathighlightedwhereandhowthecontaminantswereconcentrated.Healsocreatedanartinstallationattheoldfactorysite,astained-glassstructurethatservedasaplaceofhealingforthecommunitytoaddresstheirlong-standingtrauma.Withsupportfromthetowngovernmenttorealizetheseinstallations,hisworkreignitedacultureofresidentactivismthatispushingtheEPAtoexpeditecleanup.

Recentcriseshavepromptedseriousreflectiononopportunitiestodothingsdifferently.Managersandtheirteamslearnedtoinnovatequickly.Assumptionsthatthings“havetobethisway”havebeenchallengedandoftendismissed.Thoughitfeltliketheworldwentvirtualovernight,weknownoteveryonewasequallyabletoadapt,andconceptslikeconnectionandcommunitytookonnewdimensionsandimportance.Dailyheadlines,backedupbyunprecedentedavailabilityofdata,remindusthatmanyinourcommunitiesaredeeply—evenfatally—impactedbyracial,income,power,andtoomanyotherformsofinequities.Itis,perhaps,neverabettertimetoconsiderwaystoengagenewpartnersandthosewhoneedthemosthelpinco-creatingamoreequitablefuture.

Whileapproachesandprioritiesofartistsandculture-bearersmayconflictwithlong-standinggovernmentpracticesinwaysthatcanfeeluncomfortable,partneringwiththemcanyieldresultsunattainablethroughtraditionalmethods.Thenextsectionwillhelpguidemanagersonsuccessfullyincorporatingcreativeplacemakingandproblem-solvingapproachesthroughouttheirorganizations.

Toreadmoreonthisexample,gotopage63.


CULTIVATES THE COMMUNITY’S IDENTITY AND SOCIAL FABRICTHE SCENARIO In a world of choices, why would we choose here? What makes us want to be an active part of the community?

THE OPPORTUNITY Artists and culture-bearers can create meaningful experiences and expressions that connect the community through authentic place-keeping and placemaking.

Managersintuitivelyknowwhatresearchershaveworkedtodescribeandquantifyfordecades:thatastrongsenseofplacehasvalue.Whenresidentsfeelasenseofattachmentandbelongingtoeachotherandtowheretheylive,theyareinvestedincaringforitandshapingitsfuture.Theintangiblequalitiesassociatedwithastrongsenseofplacelikeneighborliness,awelcomingfeeling,andadistinctandauthenticatmospherethatreflectslocalvaluesandidentities,cannotalwaysbescientificallymeasured,buttheycanbefelt.


Andyet,inathree-year“SouloftheCommunity”studyconductedbyGallupfortheKnightFoundation,researchersfoundsocialofferings,aesthetics,andopennessweremostcorrelatedwithcommunityattachment. 5 Afollow-upstudy,“CommunityTies,”affirmedthevalueofthesequalityoflifeindicatorsandrecommendedattentionbepaidtoensureequitableaccessibility.6

Importantly,whileidentityisaliving,evolvingconcept,effortstounderstandandstrengthenitshouldtakeintoaccountthehistoryofaplaceandhonortheentirecommunity’srighttobelong.

CONSIDER THIS

Inflood-proneFargo,NorthDakota,thelocalgovernmenttookadifferentapproachtostormwatermanagementissuesemergingfrom2009’sstateofemergency.Insteadoflimitingtheirresponsetosimplycalculatingandplanningtheneededinfrastructureimprovements,withoutconcernforunintendedconsequencessuchascommunitydivision,thecitypartneredwithanartisttohelpengagethehistoricallyunderservedresidentsdirectlyimpactedbythefloods.Throughaseriesofneighborhoodcharrettesandcommunityevents,thedesignofwhichsheled,theartistwasabletofacilitatecommunicationbetweentechnicalengineers,NativeandNewAmericans,andothercommunityinstitutionstogatherinput,generatebuy-in,andbuildtrust.Theprocessnotonlyyieldedfunctional,sustainable,community-centeredstormwaterandlandmanagementapproachesthatbridgedthedividebetweenthesurroundingneighborhoodsandcreatedastrongsenseofownershipandpride,itfundamentallyshiftedthinkingabouthowtoapproachcommunitydevelopmentandplanninginFargo.


5 “SouloftheCommunity,”KnightFoundation,knightfoundation.org/sotc

6 MollyScott,RobertSantos,OliviaArena,ChrisHayes,andAlphonseSimon,Community Ties: Understanding What Attaches People to the Place Where They Live,KnightFoundation,2020,knightfoundation.org/reports/community-ties-understanding-what-attaches-people-to-the-place-where-they-live/

“ Oftentimes when you try to think about how we can work together better, we hit stumbling blocks. But when the arts are the vehicle through which you can do that, we have found that those stumbling blocks have moved away.”

Kathy Sheehan Mayor Albany, New York


EXPANDS AND DEEPENS YOUR NETWORK OF COMMUNITY RELATIONSHIPSTHE SCENARIO Us versus them.

THE OPPORTUNITY Through processes that inspire empathy and communication, artists can foster shared understanding and human connection between the community and local government.

Muchofamanager’simplicitresponsibilityandday-to-dayactivitiessurroundbuildingrelationshipswithindividualsandinstitutions.Fosteringgovernment’srelationshipwiththecommunitycanbedifficultinapoliticalenvironment.Individualsgetfrustratedwhendecisionsmadeinthebestinterestsofthegreatercommunitydon’talignwiththeirpersonalopinions;staffandelectedofficialsmayfeelmisunderstoodorunfairlyblamed.Tenuousrelationshipswhereeveryoneisfocusedondefensecanleadtoinequitableoutcomes.

Butrelationshipscanalsobetheprimarydriverforgettingthingsdoneintimesofrelativelynormalcy—andyourinsurancepolicyintimesofheightenedstressorcrisis.Artists,culture-bearers,anddesignerscandevelopnewmechanismsforcitystaffandleadershiptodeepentheircommunity


relationships,trust,andcommunicationovertimetotranscendtransactionalencounters,toseehowrespectiveknowledgeandcapabilitiescomplementeachother.Inparticular,communitiesofcolor,immigrants,lower-incomehouseholds,andotherhistoricallymarginalizedresidentsareoftenthosemostinneedofdedicatedattentiontorepairorestablishcommunicationandresponsiveaction.

CONSIDER THIS

Relationshipsbetweenpublicsafetystaffandthecommunitiestheyservehavebeeninthespotlightforseveralyears.InPortland,Maine,theArtAtWorkinitiativehasimplementedseveralprogramstoreverse“historicallylow”moralewithinthedepartmentandhumanizeitsofficerstothebroadercommunity.Thecityembeddedalocaltheaterartistwithinthemanager’soffice,whospenttimeworkingwithleadershipandstafftounderstandrootissuesanddesiredoutcomes.Shethendesignedarts-basedstrategiestoaddressthesechallenges.Asoneexample,theThinBlueLinesprojectpartneredwriterswithlawenforcementofficersanddevelopedacalendaroftheirpoetryandphotographsreflectingthecomplexrealitiesofadifficultjob.ArtAtWorkhelpedtoempoweremployees,fosteracultureshiftacrossthelocalgovernment,andpreventburnoutandturnover.Italsoenabledcommunitymemberstoseelocalgovernmentstaffasthree-dimensionalpeoplewithgoodintentions,stoppedincidencesofyouthviolenceagainstpoliceandpublicemployees,andsubstantiallydecreasedincidencesofdiscrimination-basedlawsuitsagainstthecity.


“ Our role as public administrators needs to evolve. Public administrators need to reacquaint themselves with our origin as reformers. We came from that, but we’ve moved past corruption to social issues. We must become leaders that inspire change or risk becoming irrelevant.”

Noel Bernal City Manager Brownsville, Texas


ENHANCES COMMUNICATION AND INPUT ACROSS DIFFERENCES IN CIVIC PROCESSESTHE SCENARIO You don’t know what you don’t know.

THE OPPORTUNITY Artists can facilitate processes and experiences that respect and translate for different perspectives within and between government and the community, bridging disconnects in understanding.

Managersservecommunitiesmadeupofavarietyofindividualsthatmayonlyhaveonethingincommon:theycallittheirhome.Theyleadteamsofstaffwithwiderangesofskills,functions,andexperiences.Languagebarriers,orthewayswecommunicate,areamajordisincentivetoparticipationintraditionalgovernmentprocessesorcollaborationacrossdisciplines.Thesearenotlimitedtonon-nativeEnglishspeakers,thoughtheyareperhapsatmostrisk;thetechnicaljargonusedbyspecializedareasofpracticecanalsoresultinconfusionorshutdowncommunicationaltogether.

Toeffectivelyengagethecommunity,governmentneedstocommunicateandtranslateacrossdiversecultures,perspectives,races,ethnicities,genders,sexualorientations,socioeconomicstatuses,ages,physicalabilities,andreligiousandpoliticalbeliefs.Localgovernmentscanprovideaspacetoengagewheredifferencescanbeacknowledgedandrespectedtoleadtobetteroutcomesfortheentirecommunity,notjustthosealreadypluggedintoroutinepublicparticipationeffortsorthosesteepedinspecializedknowledge.


CONSIDER THIS

IntheU.S./MexicanbordertownofBrownsville,Texas,entrepreneurialresidentsofthelower-incomeBuenaVidaneighborhoodhadlongoperatedaninformaleconomyofmicro-businessesbasedaroundtraditionalfoods.Confusionorsimplelackofunderstandingaboutrequirements,coupledwithconcernsaboutfamilymembers’immigrationstatus,disincentivizedresidentsfromengagingwiththelocalgovernmentanditsformalpermittingprocess.Operatorsdreamedofgrowingtheirbusinessesandtheoverallcommunityeconomy,buttheirneedswereuniqueandthesystemwasn’tworking.Thecitywasabletobridgecommunicationchallengeswithresidentsbypartneringwithalocalartcollective.Itsactivist-artistsdesignedanengagementprocessthatallowedresidentstofeelsafeandinvitedinsharingboththeirchallengesandfuturevisions.Throughthisprocessandopen-mindedness,cityofficialsexperiencednewmeansoflisteningtotheirresidents’needsandwereabletotailorprocessesthatpromotedeconomicopportunitiesforacommunitysegmentthatdeservedspecialattention.


“ The kinds of things this work tackles are the kinds of things that have no other solutions.”

Marty Pottenger Founder/Director Art At Work

“ As a local government manager, I am convinced that the creative placemaking process can be used effectively to develop a strong sense of community and provide common purpose to disparate parts of the community. And the use of the arts helps to provide an emotional response that draws one in.”

Richard Brown Town Administrator Somerset, Massachusetts


HELPS MATCH THE RIGHT SOLUTIONS TO THE REAL ISSUESTHE SCENARIO Everything looks like a nail.

THE OPPORTUNITY Artists can use their unique talents to facilitate processes that identify inclusive, culturally rooted, equitable solutions to community-validated challenges.

AbrahamKaplanandAbrahamMaslowarecreditedwithpopularizingthe“lawoftheinstrument,”thetendencyforscientiststoover-relyonfamiliarmethodsregardlessofthesituation.Thesamecouldbesaidforthebureaucraticinertiaofgovernments.Thisisnotnewstolocalgovernmentmanagers,butawarenessalonewon’tovercomethebehavior.It’stooeasyforgovernmenttofallbackonastandardmodelforcommunitydevelopmentdecisions,wheretechnical“experts”draftaplanthatfollowsaroutine,formalprocessofreviewthroughimplementation.Thisapproachisfamiliar,compliant,andefficient.Butitalsodefaultstothosetechnicalexpertsindefiningthegoalandthesolution,andoftenreliesonpublicinputmeetingsattendedbyanarrowsliverofthepopulation.Thisrunstheriskofmissingthepoint,ofasolutioninsearchofaproblem.Artistscanbringawiderangeoffacilitationtacticsthathelpsurfaceunder-the-radarsentiment,identifyrootissues,andvaluedifferenttypesofknowledge.Engagingartists’expertisecanthereforeimproveyourabilitytodesignsolutionsembracedandsupportedbythecommunity.

CONSIDER THIS

EngineerswiththeLosAngelesDepartmentofTransportation,likemanyoftheirpeersinagencieslargeandsmall,hadbeentrainedtofocusonobjective,data-drivendecision-making.Butde-emphasizingthehumansideofnumbersstymiedthedepartment’sVisionZeroefforts.Lookingtostimulatetheworkandimprovecommunityengagementwithsomecreative,outside-the-boxthinking,thecityembeddedanartistwithinthedepartment.Tappingbothhisartisticandteachingskills,theartistfosteredacultureshiftwherecivilengineerslearnedthepowerofpersonalstorytellingarounddangerousroadsandpedestrianfatalitiesasacomplementtotheirtechnicalexpertise.Thisapproachalsohelpedtoconnectthecommunitytotheeffort.Toreadmoreonthisexample,gotopage91.

DISCOVERING OPPORTUNITIESREIMAGINING ROLES FOR ARTISTS ON YOUR TEAMAsalocalgovernmentleader,employingacreativeplacemakingorproblem-solvingapproachmeansinvitinganartistorculture-bearertojoinyourteam.Yourexistingteamincludesexpertsondata,policies,andprogrammingacrossanarrayofserviceareasandfunctions,aswellasanetworkofrelationshipswithcommunitymembersandinstitutions.Butdespitebesteffortsandintentions,entrenchedor“wicked”issuespersist—whethertheymanifestas“everyday”issueslikelackofparticipation,orassomeofthelargestsystemicchallenges,suchasracialinequity.


A rtistsandculture-bearerscancomplementyourteam’scapacitytodealwiththesechallengesbytakingononeormorerolesorfunctions,whichcouldinclude,butarenotlimitedto:

Activation of public or vacant space through temporary or permanent art installations, programming, or events reflective of authentic community identity.Theseopportunitiesmaybeamongthefirstthatcometomindwhenconsideringwherecreativeplacemakingmightapplytoyourcommunity.Thoughtfullystructuredpartnershipscanyield“win-win”experiencesledbyartiststhatimprovebothphysicalinfrastructure(propertyvalueandconditions)andsocialfabric(communityempowermentandengagement).

• LocallandbanksinareassuchasNewburgh,NewYork,andKalamazoo,Michigan,havefacilitatedtemporarypop-upinstallationsthatencouragedredevelopmentofneglecteddistrictsandpropertieswhileboostingvisibilityofartistsandcommunityassets.

• CommunitieslikeGreensboro,NorthCarolina;SanDiego,California;andNashville,Tennessee;havereclaimedhighwayinfrastructureandsurroundingareaswithcreativedesignprocessestoreconnecthistoricallymarginalizedneighborhoodswithsafe,vibrant,culturallyreflectivepublicspaces.

• InCasper,Wyoming,aninteractivesculpturewasconstructedfromremnantsofacondemnedpublichousingfacilityandintegratedwithinanewsustainable,affordablehousingdevelopment.Andincommunitiesacrossthecountry,artistsareleadingconversationsaroundreimaginingpublicmonumentsduringthistimeofheightenedpublicconsciousness.

Facilitation of an event or ongoing process.Thediverse,historicUpham’sCornerneighborhoodofDorchester,Boston,founditselfsquarelyinthepathofthecity’stransit-orienteddevelopmentplansinthe2010s.Whileanexcitingprospecttosome(i.e.,thosefamiliarwithplanningprocessesorlocatedatotherpointsalongthecorridor),plentyofresidentswereworriedaboutgentrificationorunawareoftheplansaltogether.

• Aspartofaseriesofactivitiesorganizedtofosterastrongersenseofbelongingandparticipationamongresidents,artistswiththeDesignStudioforSocialInterventionputonapop-upexhibitcalledMakePlanningProcessesPublic.Incontrasttostandardpublicmeetingprocessesthattypicallyengagealimitedsliceofapopulation,thisinstallationengagedhundredsofresidentsinlearningaboutandofferingfeedbackontheplans,includingonaproposedfencealongthemiddleofthecorridor.Thoughintendedtoimprovetrafficandpedestriansafety,theplanshadn’taccountedforthesymbolismofdividingtheneighborhood—andwereultimatelychangedbasedontheclearfeedbackreceived.

TAKE A TOUR“Do You See Yourself in Upham’s Corner?”casestudy.

Performance for or with community members and local leaders.Thiscanbeaplayfulbutpurposefulmeansforbringingattentiontounder-the-radarissuesandperspectives.Communitypoolsareimportantrecreationandgatheringspaces,particularlyinhotclimates,butAustin’srapidlyagingaquaticsfacilitieswereindangerofclosingduetoalackoffundingfor

IN THIS SECTION YOU’LL FIND:• Rolesthatartistscancontributetoyourteam.

• Moreonhowcreativeplacemakingapproachescanaddvaluetospecificlocalgovernmentareasofwork.


maintenanceandrepairs.Thisstoodtodisproportionatelyimpactresidentswithoutaccesstoprivatealternatives.

• Todrawattentiontotheirdeterioratingstatus,thecity’sParksandRecreationDepartmentandAustin-basedForkliftDanceworkscreatedMyPark,MyPool,MyCity.Throughaseriesofmeetings,parties,andperformancesorganizedbytheForkliftartists,thisinitiativebroughtattentiontothevitalrolescommunitypoolsfilledinAustin’shistoricallymarginalizedneighborhoods.Inadditiontocelebratingandmaintainingthevibranthistoriesofthesecommunityfacilities,theinitiativefacilitatedunderstandingofthepolicyissue.Voterslatersupportedacitybondpackagethatincludedasignificantearmarkfortheaquaticssystem.

TAKE A TOURMy Park, My Pool, My Citywebsite.

Organizing/engagement, including marginalized groups, using nontraditional approaches.Itisnosecretthattraditionalmethodsofengagementoftenexcludeamajorityofthepopulation,particularlythosefromminorityandlow-incomecommunities.Thebarrierstoentryarehigh:showuptoameetinginapublicfacilityremovedfrompublictransportation,atthedesignatedtime(usuallyevening)withnochildcareprovided,andspeakEnglishifyouwouldliketoparticipate.Artistsandculturalorganizersfindnewwaystoengagethecommunitythatcantranscendthesebarriersthroughcreatingasafe,comfortablespacethatmeetsthecommunitywheretheyare.


• ThecityofMilan,Minnesota,hasapopulationof400andhasrecentlyseenalargeincreaseinMicronesianimmigrants(nowoverhalfofthepopulationofthetown)towhathadhistoricallybeenalargelyNorwegian-descendedcommunity.PlacebaseProductions,alocaltheatercompany,ledanengagementprocessthroughthecreationofacommunitymusicalthatexploredpaststories,addressedpresentconditions,andenvisionedfuturepossibilitiestogether.Byestablishingcommongroundandcelebratingdifferences,thevoicesoflocalresidentswereelevatedtoreflectthetraditions,heritage,andvisionfortheircommunitywith50percentofparticipantsindicatingaftertheperformancetheywouldconnectmorewithcommunitymemberstheydidn’tknow.

Instigation, or disruption of “business as usual,” encouraging reflection or a fresh perspective.Similartohowsomelocalgovernmentshavebroughtoninnovationordiversityofficerstoreviewstandardpracticesthroughanewcross-cuttinglens,artistresidenciesmaybeaneffectiveopportunitytobreathenewlifeintoroutineoperations.AsJoannaWoronkowiczandJohnMichaelSchertwroteintheStanford Social Innovation Review:

“(A)rtistspossessgeneralfactorsofcreativitythatenablethemtoworkacrossdomains.Someofthesefactors:adaptivenesstoforeignenvironments,autonomousdecision-makingandideageneration,capacitytodealwithuncertaintyanddiscomfort,andwillingnesstodepartfromnormsandcreatenewframeworks.…Theotherandperhapsmoreimportantpartisthecollaborativepotentialofartistsworkingwithpublicsectorworkerstofindcreativesolutionstopublicsectorproblems.”7

7 JoannaWoronkowiczandJohnMichaelSchert,“ArtistsinLocalGovernment:LocalGovernmentArtist-in-ResidenceProgramsMustIncludeOpportunitiesforPublicSectorInnovation,”Stanford Social Innovation Review, 2020, ssir.org/articles/entry/local_government_artist_in_residence_programs_must_include_opportunities_or_public_sector_innovation


Seethe“UnexpectedApproachesforImprovedOutcomes”casestudyformoreonexamplesandlinkstoadditionalresources.8

Conduits/translation of complex or sensitive information.Artistsareoftenmoreadeptatbroachingconversationsinandwiththecommunityaboutdifficultissues.Theycanusevariousformsofcreativeexpressiontohelpothersunderstandandempathizewithpainortraumaoutsideoftheirownexperiences.

• InAlamedaCounty,California,sheriff’sdeputyJinhoFerreiradevelopedhisownone-personshow,“CopsandRobbers,”inresponsetotherashofpoliceviolencetargetingAfricanAmericans.TheplaydepictshisownjourneyfromadolescenceamidtheOaklandcrackepidemictoacareerinlawenforcement,andhelpedtocatalyzenewcrimepreventionprogrammingandimprovepolice-communityrelations.

• Creativemindscanalsoworktomakescientific,technical,orseeminglyinvisibleinformationrelatableacrosssectors.LeveragingheridentifyasanartistandherroledirectingHealthEquityinAllPoliciesforNewYorkCity’sDepartmentofHealthandHygiene,ElizabethHambyandacross-sectorteaminvolvingepidemiologists,housingspecialists,andplannersdevelopedaDungeonsandDragons–stylegametodrivehometheimpactsofstructuralracismonpublichealthoverthreesignificanttimeperiods.Thegamehelpedtofacilitateconversationsacrossmunicipaldepartmentsaboutinequitableimpactsofhousingandotherpublicpolicies.9

8 VictoriaHutter,“PlayingCopsandRobbers,”American Artscape, 2016, arts.gov/NEARTS/2016v3-pursuit-creative-life/playing-cops-and-robbers.

9 ElizabethHamby,“EquityandUrbanPlanning,”ArtPlace America, 2018, artplaceamerica.org/blog/equity-and-urban-planning


Someofthese—facilitation,engagement,information-sharing—arelikelyfamiliarresponsibilities.Artisticperformanceorcreationmayseemfurtherafieldfromcoregovernmentfunctions.Andthenotionofdisruptionmaybecompletelycounterintuitiveorriskytoamanagement-orientedmindset.Butchancesare,thereisroomforimprovementofexistingpracticesandtryingnewapproachesaltogetherinanefforttobetterservetheentirecommunity.


CREATIVE PLACEMAKING IN SAMPLE CONTEXTSMuchoftheearlyliteratureandresourcesoncreativeplacemakingfocusedonitsapplicationstocommunityplanningandeconomicdevelopment.Whilethesearestillfertilegroundforcreativeplacemakingpartnershipstotakeroot,asthefieldhasgrown,practitionershavefoundopportunitiesacrossawiderangeofgovernmentfunctionsandresponsibilities.Thefollowingcoverjustasamplingofadditionalexamplesandlinkstofurtherdiscoveryformanagersorrelevantstaff.

HOUSINGEnsuringequitableaccesstoquality,affordablehousingisaperpetualchallengefacinglocalleadersincommunitiesacrossthedensityspectrum,fromruraltourban.Whilenotalllocalgovernmentsareinthehousingdevelopmentbusiness,theycansupportcreativeplacemakingeffortstoraiseawarenessoflocalmarketconditionsandtheneedsofvulnerablecommunitysegments.

• InthecitiesofAlbany,Schenectady,andTroy,NewYork,localgovernmentswerevitalpartnersinanartist-drivenregionalpublicartinitiativecalledBreathingLightsthatilluminatedhundredsofvacanthomeseachnightforseveralmonths.Theinitiativedrewattentiontothechallengesfacingneighborhoodswithhighvacanciesandopportunitiesforrehabilitation,generatedadditionalpublicandprivatesupportforcombatingblight,andprovidednewwaysforcommunitymembersandpartnerstobuildcivicconnectionandpride.Mayorschampionedthelong-termtransformationalimpactsoftheproject,evenasanalternativetodirectinvestmentinblightcleanup.

“ People are looking at opportunities in some of the neighborhoods that before, they never would have even considered. And, so, the effect of this is happening today, and I believe it’ll carry on five years and ten years into the future. It is really a transformational engagement that gets people to rethink about how we deal with some of the problem properties.” Gary McCarthy, Mayor, Schenectady, New York10

• Localgovernmentscanalsofacilitateorprovidevitalsupporttocross-sectorpartnershipsthatplanforcommunity-driven,culturallyappropriatehousingdevelopment.AgroupofBlackartistsledthechargeinHouston’sThirdWardtodevelopwhatstartedasanhistoricpreservationpublicartprojectintheearly1990s.Withsupportfromatapestryofprivate,philanthropic,andnonprofitpartnersalongwiththecity,ProjectRowHousesgrewintoathrivingcomplexofaffordablehousing,artgalleries,andcommunityprogramming.

10 NicoleVanSlyke(Producer),BrianFlynne,RonBigge,ZekeKubisch,JillMalouf(Videography),“BehindtheLights,”WMHTEducationalTelecommunications,2017,breathinglights.com/documentary.

“ As I started working with artists on housing projects and transportation projects, I realized that the arts were involved in the process and not the final project … which resulted in a better, more collaborative, locally focused, and relevant result in the end, that often didn’t even look like a work of art—it didn’t have something traditional like a mural or a sculpture. Really, the art took place in the process, often behind the scenes.”

Ben Stone Director of Arts and Culture Smart Growth America


TAKE A TOURBreathing Lightswebsite;Project Row Houseswebsite.

DIVE DEEPERFindmoreexamplesandarichexplorationofthecontextfortheseopportunitiesinExploring the Ways Arts and Culture Intersects with Housing: Emerging Practices and Implications for Further Action.

TRANSPORTATIONTransportationdecision-makingisaheavilynumbers-basedgame,withdecisionsdrivenlargelybyprecedent,engineeringstandardsandanalyses,fundingformulas,andpoliticalsupport.“Ratherthansparkingnew,innovativeideas,thesecumbersomeconstraintsoftenleadtorehashedideasthatfollowconventionalstandards,adheretothestatusquo,andaredesignedtowinapprovalsratherthantoinspirecommunitymembersandfindnewwaystosolveoldproblems.”11Thepossibleconsequences?Atbest,missingpotentiallylow-hangingfruitopportunitiestoincreasepublicsupportforprojects,improveuserexperiences,andvalidateassumptions.Atworst,highwaysthatdividemorethantheyconnect.Streetdesignthatfavorstheautomobileoverpedestriansornon-motorizeduses,leadingtosafetyhazardsandaccessissues.Constructionthatdisruptscommunitylifeandfostersillwilltowardthegovernment.Failuretoappreciatetheconnectivityneedsoftheentirecommunityandthepotentialsocialandeconomicimpactsleftunrealized.Engagingtheperspectiveofartistsandculture-bearers,ideallyearlyoninthesedecision-makingprocesses,canhelptohumanizethenumbersinyourcalculationsanddivedeeperintotheimplicationsofinvestments(orlackthereof)inyourcommunity.

• ArtiststrainedintheateranddancehelpedMilwaukeeCounty,Wisconsin,andTakomaPark,Maryland,facilitateprocessesthroughwhichgovernmentofficialsandstaffwereabletolearnfromresidentsabouttheirlivedexperiencesnavigatingkeytransportationcorridors.Milwaukee’sperformances,facilitatedbyAnneBastingandtheSojournTheater,promptedcrosswalksignalchangestoimprovepedestriansafety.TakomaPark’sworkwithDanceExchange,foundedbyLizLermanandledbyCassieMeador,helpedcitystaffunderstandtheneedtoconsiderculturalfeedbackinplanningdecisions.

Localgovernmentshavepartneredwithartiststomitigatechallengesposedbytransportationprojects.

• WhenacommuterrailsystemproposedtoconnectruralKewaPueblo,NewMexico,withitslargerregion,earlyplansoverlookedsafelocalaccesstothestationitself.Tribalcommunitymembersworkedwithartistsandthelocalplanningdepartmenttoblazeaconnectivetrailthatnotonlyimprovedpedestriansafetyandopeneduplocaleconomicopportunities,buthonoredculturalheritageandfosteredasenseofownershipandpride.

11 SmartGrowthAmerica/ArtPlaceAmerica,Arts,Culture, and Transportation: A Creative Placemaking Field Scan, t4america.org/wp-content/uploads/2017/09/Arts-Culture-Field-Scan.pdf.

“ What excites us about introducing creative placemaking strategies in rural communities is that the change can be simultaneously so much more immediate and long-term. The role of the artist is to help city governments be more engaging and equitable, something many small cities are challenged by at the moment.

Ashley Hansen Founder and Director Department of Public Transformation


• IntheTwinCitiesregionofMinnesota,thecityofSaintPaulworkedwiththecommunityandeconomicdevelopmentcorporationSpringboardfortheArts,theLocalInitiativesSupportCorporation,theCentralCorridorFundersCollaborative,andotherpartnersinaproactiveinitiativetouseartsandcultureincounteringdisruptionoftheGreenLinelightrailconstruction.TheirIrrigateinitiativetrainedhundredsoflocalartists,whocompleted150creativeplacemakingperformances,installations,andinfrastructureimprovementsover36monthsthatfosteredsocialcapitalandsupportforlocalbusinessesalongthecorridor.

DIVE DEEPERFormoreonsolvingtransportationplanningproblemsthroughcreativeplacemaking,seetheessentialresource,Arts, Culture and Transportation: A Creative Placemaking Field Scan.

PUBLIC WORKS Publicworksdepartmentsareknownforprovidingsomeofthemostimportantservicestothecommunity,includingwastewatercollectionandsanitation,stormwatermanagement,andcleandrinkingwater,butoftenfocusmoreontriedandtruemethodsandwhattobuildratherthannewwaystoapproachaproblem.Resistancetochangecanbestrong,andoftenforgoodreason.Theseessentialsystemsarecostlytomaintain,anderrorscanhavedevastatingimpactsoncommunityhealth.Butmuchoftheinfrastructurebuilttoprovidetheseservicesisonaverageover100yearsold,longoutlivingtheirintendedlifespans.Postponementofcapitalprojectsasaresultoffiscalstress,coupledwithadditionalsystempressurefromtheimpactsofclimatechange,hasledtoanalarmingdeclineinpublic

infrastructure.Marshallingthesignificantinvestmentsneededtoaddresstheseissueswillrequirepublicandpoliticalwill.“Today,waterutilitiesincreasinglyrealizethatthe‘outofsight,outofmind’natureoftheiroperationshinderstheirabilitytodeliverontheircoremandateofprovidingreliablewaterservice.Theyneeddeeperandmoresustainedinteractionswiththepublic,especiallyinlightofthefactthatrevenuegeneratedfromwaterbillsistheprimarysourceofsupportforwaterinfrastructure.”12

Artistshavebecomeimportantpartnersinaddressingthesecomplicatedissuesbypromotingpublicawarenessandidentifyinginnovativeinfrastructureimprovements.

12U.S.WaterAlliance,AdvancingOne Water Through Arts and Culture: A Blueprint for Action,USWaterAlliance,2018, uswateralliance.org/sites/uswateralliance.org/files/publications/uswa_artsculture_FINAL_PAGES_RGB_0.PDF.

• WaterisLifewasaseriesofprojectsthatfocusedonstrengtheningwatersystemsinNativeAmericancommunities.ThroughtheirworkwithruralRussianMission,Alaska,theyaddressedpoorwaterqualityandcommunityperceptionbyvisuallydisplayingthechangeinmanagementofthewatersystemthroughcommunityevents,suchasmuralsandyouth-ledartprojects.Theireffortsraisedthepublic’sperceptionofthewaterutilitiesandresultedinacollectionrategrowthfrom32to89percentafteroneyear.

• InWestPalmBeachCounty,Florida,theSolidWasteAuthorityinvitedartistMichaelSingerontothedesignteamforitsnewwaste-to-energyfacility.Withaseatatthetablethroughouttheentireproject,Singer’steamwasabletoinfluencedesignbysuggestingtheinclusionofanonsiterainwaterharvestingsystemthatcancaptureandstoreover2milliongallonsofrainwater,significantlyreducingtheamountofwaterneededtobepurchasedtorunthefacility.Additionally,artistsdevelopedtheenvironmentalandeducationalcomponentsofthebuilding,creatingaspacewhereprogrammingcouldconnectthecommunitywiththeofteninvisibleyetessentialservicesbeingprovided.

DIVE DEEPERFormoreonsolvingstorm,drinking,andwastewaterproblemsthroughcreativeplacemaking,seetheessentialresource,Advancing One Water Through Arts and Culture: A Blueprint for Action.

EMERGENCY MANAGEMENT Emergencymanagementhasbecomearobustfieldinlocalgovernmentoverthepast50yearswithpublicmanagersplayingavitalroleinleadingtheresponseintheircommunities.AsAmeliaBrownnotesin“Art:CreatingPossibilitiesinEmergencies”intheOctober2020issueofPublic Management, disasterscomeinmanydifferentforms,includingnatural,technological,andstructural,andoftenintersect.Forexample,HurricaneKatrina(anaturaldisaster)causedtheleveestobreak(atechnologicaldisaster),exacerbatingdisparitiesinhousingandtransportation(asystemicdisaster).Butopportunitiescanariseevenwithinthesecompoundingcrisestodevelopnew,innovative,andcreativewaystoaddresslong-standingissues.“Oneofthemostoverlookedyetvitalrolesinemergencymanagementistheroleofartists,”saysBrown,founderandCEOofEmergencyArts,whoregularlyworkswithlocalgovernmentsonemergencyplanningandresponse.“Integratingartistsintoeveryphaseofemergencymanagementiskeytoaddressingvarioustypesofemergenciesandtoimplementinganintegratedapproach.”13

• BrownprovidesanexamplefromHurricaneKatrina,inwhichmanymarginalizedcommunitieswithoutpersonaltransportationwereleftstrandedinthemidstofadisaster.Thisledtothedevelopmentofpick-uppointsthroughoutthecitytosafelyevacuateviapublictransportation,butyearsaftertheircreationitwasfoundthatpeople

13 AmeliaBrown,“Art:CreatingPossibilitiesinEmergencies,”Public Management, 2020, icma.org/articles/pm-magazine/art-creating-possibilities-emergencies.

“ It's so important that we preserve a historical record of our city's experience. This project was a chance to give our employees an opportunity to share their own experiences, and out of it, have a way to share those stories with our community and with other communities and agencies so that we may learn from each other.”

Sean McGlynn City Manager Santa Rosa, California

(ThePressDemocrat,September3,2019)

“ One of the most overlooked yet vital roles in emergency management is the role of artists.”

Amelia Brown Founder & Consultant Emergency Arts


wereunawareoftheprogram.Evacuteer,avolunteermanagementorganizationpartneredwithFEMA,theArtsCouncilofNewOrleans,andthecitytoincreasevisibilityofthepick-uppointsbyinstalling17publicartspieces.NamedEvacuspots,theartservesasidentifiablemarkerstodesignategatheringlocations.Listeningtothemostunderservedandunderrepresentedcommunitiesprovidedapathwaytoimprovedemergencymanagementandcommunityrecovery.14

Publicemployeesareoftenresidentsofthecommunitytheyserve,sorespondingtoandbeingavictimofanemergencycancoincide.ThiswasthecaseformanyemployeesinSantaRosa,California,followingtheSonomaComplexFiresin2017.Citystaffservedintheirroleswithheroicdedicationassomeoftheirownhomesburnedtotheground.CityManagerSeanMcGlynnturnedtoartiststodevelopadocumentarythatcouldhelpstaffandthebroadercommunityprocesswhathadhappened,andtobegintohealthetraumaexperiencedintheorganization.“LastOctober”capturedboththeprofessionalandpersonalrecollectionsofmunicipalstafffromvariousdepartmentsandwasinitiallydevelopedforinternaluse,butwasreleasedtothepublicandresonatedstronglywiththecommunity.

Theseexamplesshowhowartisawaytobuildsolidarity,healcommunally,andhelpbuildmoreresilientcommunities.

TAKE A TOUREmergency Artswebsite;Last Octoberdocumentary

CIVIC PROCESSES Managerssometimesstrugglewiththegeneralpublic’sapathytoward,limitedunderstandingof,orpoliticizationofbasiccivicprocesses.Creativeplacemakingstrategiescanhelpreimagineastaleprocessandprovideopportunitiesforincreased,meaningfulpublicparticipation.

• WhenAustinrestructureditscitycounciltoanentirelyward-basedformatbypopularreferendumin2012,itrequiredthecreationof10newvoterdistricts.Redistrictingcanbeacontentiousendeavor,butwiththisobligationcameanopportunity.Throughapublic-privatepartnershipcalledDrawingLines,artistswereembeddedineachofthe10districtsforayearpriortodevelopingplace-specificpiecesofpublicart,culminatinginacollectiveexhibition.Inadditiontothevariedformsofartthatendureassymbolsofeachcommunity,theprocessesusedindevelopingtheseprojectsallowednewdistrictmemberstointeractinunexpectedways,throughsharingofrecipes,soundscapes,poetry,orimages.

• Denver,Colorado,ishometotheworld’sfirstknown“CivicHealthClub,”foundedin2012bytheaterartistandactivistEvanWeissman.CalledtheWarmCookiesoftheRevolution,ithassincecreatedover150uniqueprogramsthatprovideunexpected,approachable,andfunopportunitiesforadiversearrayoflocalresidentstomakeconnectionswitheachother,learnmoreaboutcivicprocesses,andbuildcapacityfortakingactiononissuesimportanttothem.ThecityofDenverhassupportedWarmCookiesactivitiesbyaccesstospacethroughitsculturalpartnersprogram.Througharecenteffortcalled“ThisMachineHasaSoul,”

14AmeliaBrown,“Art:CreatingPossibilitiesinEmergencies,”Public Management, 2020, icma.org/articles/pm-magazine/art-creating-possibilities-emergencies.


WarmCookiespartneredlocalstudentsandartistsindevelopingaRubeGoldberg–inspiredinstallationtoeducateandengagecommunitymembers,includingyouth,inparticipatorybudgetingprocesses.ThesepilotprojectshavehelpedadvancebroaderadoptionofparticipatorybudgetinginDenver.

TAKE A TOURDrawing Lineswebsite;Warm Cookies of the Revolutionwebsite;This Machine Has a Soulwebsite

DIVE DEEPER

OTHER CONTEXTS AND RECOMMENDED RESOURCESDidn’tseethecontextyouwerelookingfor?Hereareafewadditionalrecommendedjumping-offpointsforfurtherreading:

ENVIRONMENT AND NATURAL RESOURCESThisfieldscanencompassesseveraldomains:energy,water,land,waste,toxicpollution,andclimateresilienceandadaptation;andhowartsandculturalstrategiescanfacilitatetransitionstomoresustainableandequitablesystems.

Farther, Faster, Together: How Arts and Culture Can Accelerate Environmental Progress

EQUITY INITIATIVESAnincreasingnumberoflocalgovernmentsarehavinginternalandpublic-facingconversationsabouttheneedtoassessandmodifypracticestobetteraddressissuesofinequity.Ifyouaren’tyetsurewhereartsandculturecouldbesthelpyouinthisprocess,thisresourceintroducespotentialpolicytargetsandcreativeplacemakingstrategiesacrossawiderangeofissues.

CreatingChangeThroughArts,Culture,andEquitableDevelopment

FOOD AND AGRICULTUREDrawingfromexamplesacrosstheruraltourbancontinuum,thisfieldscanexploresfoodandagricultureactivitiesasbothexpressionsofartsandcultureandopportunitiesforcommunityeconomicdevelopment.

CultivatingCreativity:ExploringArts&CultureinCommunityFoodSystemsTransformation

IMMIGRATION AND INCLUSIONAspopulationdemographicsofAmericacontinuetochange,thisfieldscanexploreshowartsandculturalstrategiescanhelpbuildmorewelcomingandinclusivecommunitiesthatserveandsupportbothnewandlonger-termresidents.

BridgingDivides,CreatingCommunity:Arts,Culture,andImmigration


PARKS AND OPEN SPACESSimilarinscopetothisguidebutappliedtothespecificcontextofparks,theFieldGuide’scollectionofcasestudiesdemonstrateshowartscanbuildasenseofplaceinawiderangeofopenspaces.Thetoolkitexpandsonhealthimpactsoftheseinterventions.

FieldGuideforCreativePlacemakinginParks; ToolkitforHealth,Art,Parks&Equity

PLANNINGPerhapsthemostcommongovernmentsectortoengageincreativeplacemakingactivities,theAmericanPlanningAssociationmaintainsanextensivecollectionofresourcesonthetopicforplannersandotherlocalgovernmentleaders,includingsamplepolicies,localandregionalplans,trainings,andmore.

CreativePlacemakingKnowledgebase

PUBLIC SAFETYPublishedin2016,bothfollowingandprecedingaseriesofhigh-profileincidencesofpoliceviolenceandensuingcivicunrest,thisfieldscanexploreslinkagesbetweencreativepracticesandpublicsafetyindicators.

ExploringtheWaysArtsandCultureIntersectwithPublicSafety

RURAL DEVELOPMENTCreativeplacemakingstrategieshavebeeneffectiveatpreservingruralcharacterwhileadvancingsocialandeconomicopportunities.Thisresourcedescribessuccessfulinitiativesandlessonslearned.

RuralPlacemaking:MakingtheMostofCreativityinYourCommunity

TRIBAL NATIONSLongbeforecreativeplacemakingwasaterm,indigenoustribeshaveembodieditsprinciples,asexemplifiedbythiscollectionofcasestudiesandlinkstoadditionalresources.

NativeAmericanCreativePlacemaking

VACANT PROPERTIESManycommunitiesstrugglewithwhatdowithvacantpropertiesandoftenartistsandcreativepracticesareexcitingplacestostarttoreactivate,animate,anddevelopthesespacesintocommunityassets.

CreativePlacemakingonVacantPropertiesandCreativeCommunityDevelopment:AResourceGuideforArtist-ledDevelopmentofVacantSpacesinSouthwestMinnesota

CivicArts,apartnerinthedevelopmentofthisguide,maintainsalivinglibraryofcreativeplacemakingresourcesorganizedforeasynavigatingaccordingtoyouruniqueinterests.


10THINGSYOU(ORYOURSTAFF)CANDO TO TAKE THIS GUIDE’S IDEAS FORWARD IN YOUR COMMUNITY

1 Meet artists where they are and begin to build informal relationships. Attendameetingofyourlocalorregionalartsagency,commission,orotherculturalinstitutionleadership.Listenwithanopenmind.

2 Invite artists to help you set the table.Whataresomeofthemostdifficultconversationsyou’refacingnowwithinyourstafforwiththecommunity?Couldanartisthelpstructurethoseexperiencesdifferently?

3 Make new friends.Connectwithyourpeersthathaveexperienceinthesetypesofpartnershipsorshareinterestinlearningmoreabouttheseideas.JoinalistservsuchastheCivicArtist-in-ResidenceProjectoronlineaffinitygroupsuchasEmergingLocalGovernmentLeaders’CreativeCommunityCohort.ICMAmemberscancontinuethediscussiononICMAConnect.ReachouttoICMAstaffforassistanceinidentifyingcontacts.

4 Introduce new concepts.Sharesomeoftheguidancefoundwithinthisguidewithyourgoverningbodyandstaff.Identifythosewhoaremorereceptivetotheideasandhelpconnectthemtothework.

5 Dare to take small risks and don’t overthink.Asyoustarttobuildrelationshipsandprovidespaceforideastospark,seizeonopportunitiesthatinstinctivelyfeeldoable.Stageapop-up,one-offactivityandseewhatyoulearn.Usethoseexperimentstodevelopcomfortinworkingwithnewtypesofpartnersandambiguousexpectations.

6 Go one step further.Challengeyourselforyourteamtotakeasinglepolicyorprogramandimaginehowitcouldbetterserveorreflectthecommunity.Maybeitisrefininghowyoumakepublicartdecisions.Maybeitisfindingnewwaystohearfromusersofapublicserviceoutsideofcityhall.Nowthinkaboutwhocanhelpyoudothis.

7 Look to activate and animate dormant spacesandprocesseswithmeaningfulactivitiesthathelpunearthunderlyingchallengesoropportunitiesinacommunityorhighlightexistingassetsandundervaluedresources.

8 Cast a talent show or create opportunities for staff to share hidden creative abilitiesofallformsandhelphonortheexistingcreativitythat’sinyourdepartmentsalready.Canthesetalentsbebroughttobearintheirexistingornewresponsibilities?

9 Support your arts and culture sector, even indirectly.Evenwithoutdollarstoinvest,getoutofthewaybyeliminatingunnecessaryredtape,orusethepowerofregulationtorewardcreativityandsupportforwhatartsandculturalinstitutionsaddtoyourcommunity.

10 Watch a movie. Therearemanyexamplesofvideosthatdocumentacreativeplacemakingprocessoritsfinalproduct,addingdimensiontotheexperienceanditsimpacts.Acouplearereferencedearlierinthisguide(BreathingLights;LastOctober)andanothercollectionishere.Findonethatinspiresyouandshareitwithyourteam.


NAVIGATING PROCESSESInthissectionyou’llfindguidanceonimplementationandnavigatingchallengesorganizedintofourmajorareas,whichcanalsobefoundintheguide’sfivefeaturedcasestudies:

•Definingyouropportunity.

•Preparingtopartner.

•Assemblingyourteam.

•Structuringandsustainingpartnerships.

You’llalsofindlinkstoadditionaltoolsandresources, promptsforreflection,andsuggestednextsteps.


DEFINING YOUR OPPORTUNITYAsitispracticedtoday,creativeplacemakingisasmuchabouttheprocessasitisabouttheendresult.Inthatsense,itislessabouttheobjectattheendandmoreabouttherelationships,conversations,andactionsthatartsandculturebringintocommunitychangeprocesses.Itisaboutusingartsandculturestrategiestofacilitateoutcomesdesiredbythecommunitystakeholdersimpacted,whichcouldincludethoseinternaland/orexternaltothelocalgovernment.

COMMUNITY-DEFINED PROBLEMInthinkingabouthowonemightapplythisapproachtotheircommunity,it’simportanttoacknowledgethatacreativeproblem-solvingapproachcanbedifferentthan“businessasusual.”Focusingfirstontheprocessinsteadoftheendresults,startbycollaborativelyidentifyingthechallengeyouandyourcommunitywouldliketoaddressoropportunitiesyouwishtoexplore.Thefigurebelow,adaptedfromcreativeplacemakingpractitionersatForecast,anonprofitorganizationbasedinSaintPaul,Minnesota,thatprovidesconsultingandtechnicalservicesonpublicartandplacemakingprojectsacrossthecountry,illustrateshowthismightlookdifferentfromaproduct-basedapproachwheretheoutcomeispre-supposed(asalsodescribedonpage55).

• Hint: It can be anything!Becausecreativeplacemakingisprocess-oriented(asopposedtoproduct-oriented),itcanbeappliedtoawiderangeoftopics,challenges,andaspirations.Whileitoftenstartswithadesiretoimprovecivicinfrastructure,buildsocialcohesion,andadvancecommunityculturallife,thecreativepracticecanalsobeappliedtosolvingtransportationchallenges,housingneeds,andfoodsecurity,amongotherthings.Thinkexpansively!

• Community stakeholders need to define or validate the opportunity. Thebestprojectideasoftenstartinearlydialoguesbetweencommunitymembers,artists,andgovernmentandcommunitystakeholdersaroundasharedvisionoridentificationofneeds.Whiletheideamayhavestartedwithinyourlocalgovernment(orevenyourownmind),itisalwaysimportanttoconsiderhowyouarelisteningtothecommunity,eitherinadvanceoforasapartoftheprojectyouareembarkingon.Projectsthat

CONNECTING WITH ARTISTSPRODUCT + PROCESS

PRODUCT-BASED PROJECTOUTCOME

PLANTIMELINE

TASKS

PROCESS-BASED PROJECTQUESTION OR ISSUE

APPROACHDISCOVERYOUTCOME

Artistscancontributetodifferenttypesofprojects.Unliketypicalproblem-solving approachesorientedaroundadesiredoutcome,creativeplacemakingtendstofocusonworkingwiththecommunitythroughaprocesstocollaborativelydefinetheissue,explore

potentialresponses,andachieveamoreequitablesolution.(AdaptedfromForecastPublicArt)


advancewithoutcommunityinputandguidanceoftenruntheriskofdoingharmorhavingnegativeimpactsonpartsofthecommunity,evenwhilebenefitingothers.

• Consider when community engagement happens. Veryoftenmunicipalprojectsbegintoinvolvethecommunityaftermanylargerprojectdecisionshavealreadybeenmade.Butpausetoconsider,whatisthecentralfocusoftheproject?Whoisleadingthedesignormanagementofit?Howwilltheprojectcometogether?Communityinputisoftensoughtaftermanypartsoftheprojectarealreadyinplace,leavinganarrowrangeof“communitychoices.”Workingwithartiststohelpestablishon-going,long-termcommunityconversationscanhelpensurethatwhenprojectopportunitiesarise,afoundationofdialogueandtrustarealreadyestablished.

• Build on local context, assets, and aspirations. SpringboardfortheArts’IrrigateToolkitoffersasetofoverarchingquestionstohelplocalgovernmentsconsiderthepotentialscopeofanewcreativeplacemakingpartnership;

ASK YOURSELF ThefollowingquestionsfromtheSpringboardfortheArts’IrrigateToolkit:

1. What is the community challenge or opportunity? Itwilllikelybeacombinationofplaceandthepeoplewholive,work,andareinvestedinthatplace.

Place — What is it? Aconstructionproject,acommercialnode,aroadimprovement,asetoflotsorbuildings,alakeshore?Whataretheboundariesandthephysicalfeatures?Ahistoricpreservationeffort?Isitacontentiouscommunityissueoranegativenarrativeaboutaplace?


People — Arethererelationshipsbetweengroupsofpeopleorintereststhatyou’dliketobuild?Arethereattitudesorhabitsthatyou’dliketochange?Doyouwanttobuildartistleadership?Aretheretypesofpeopleyouwanttoengagethroughtheartistprojects?Youmightbeinterestedinintergenerationalorinterculturalexchange,orconnectingbusinessownerstotheneighborhoodtheyarein.

2. What are you hoping artist projects will achieve?Referringtothechallenges/opportunitiesabove,whatareyouhopingtheseartistprojectswillachieve?Thiscouldbespecificorgeneral,suchasrevitalizingstorefrontsonamainstreettobringingactivityandsenseofidentitytoaneighborhoodnode.Itmightalsoincludeengagingcommunityinnewways,andempoweringresidentstoaffectchangewheretheylive.

TAKE ACTIONTheAnimatingDemocracyprogramalsooffersatoolkitforPlanning&DesigningArts-BasedCivicEngagementProjects.ItsPhaseI(IMAGINE)worksheetsmaybeusefulinhelpingtocaptureandorganizeinitialideasasyoupreparetodiscusswitharts,culture,andcommunitystakeholders.TheDEFINEandDESIGNaspectsarebetterthoughtthroughtogetherwithcommunityinput.

Thecasestudiesincludedinthisguidealsoprovidequestionstohelpyouconsiderhowtheseexamplesmightinformscopingofaprojectinyourcommunity.

Whileeverycreativeplacemakinginitiativeshouldultimatelyreflectauniquecombinationoflocalchallengesandassets,honinginonyourinitialinternaland/orexternalgoalscanhelptoidentifysourcesofinspirationfrompasteffortswithoverlappingthemes(andprovidesomeindicationtowould-bepartnersaboutyourreadiness).Pointingtothoseexamplesofsuccessfulpartnershipselsewherecanhelpgeneratebuy-infromnecessarydecision-makers.Ingeneral,though,localgovernmentsshouldresistthetemptationtopre-supposehowanartistwillachievetheseoutcomesfortheirowncommunities.

TAKE A TOURBrowsetheOurTownProjectShowcaseforillustratedcasestudiesofprojectsfundedbythissignatureNEAprogram.Examplesspanarangeoflocations(i.e.,urban,rural,tribal)andprojecttypesandmayhelpyoufindinspirationalignedwithyourownideas.

DIVE DEEPERHowtoDoCreativePlacemakingisacomprehensiveprimercompiledbytheNEAofshortreadsonmanydimensionsandexamplesofthepractice.Essayscouldbeexcerptedandsharedtosparkconversationswithyourcouncilorstaff.


NAVIGATING HAZARDS

Consider whose visions are leading.Becausecreativeplacemakinginvolvespublicandciviclife,itmeansmakingchoicesaboutwhoseculture,whosevalues,whoseaesthetics,whoseidentities,andwhoseideasareshapingthecommunityyouserve.Thismeansitcaneasilyreplicateinequity-orprivilege-dominantculturesorsuppressthecomplexityoflocalculturalidentities.

CreativePlacemakingValues:AGuideforPractitioners,Funders,andEvaluatorsprovidesaseriesofquestionstohelppartnersaligntheirprocessandoutcomestosharedvaluesinlinewiththefulllistofprinciples.Tostart,

ASK YOURSELF • Doesthecommunitydesirethechangeenvisionedinthe projectgoals?Iscommunityexperienceleading?

• Willthisworkincludepracticesthatexpandopportunitiesandaddressbarrierssothatmembersofthecommunityexperiencebenefits?

• Doweunderstandhowpowerandinfluenceimbalancemayimpactthisprocessandthegoals?Whobenefits?Wholeads?Whoismissing?Whopays?What’satstake?Whodecides?

• Whatareyourcommunitystrengthsandassets—people (includingartists),institutions,history,culture,andsolutions— thatexistandaretheyrepresentedandincludedina community-ledprocess?


PREPARING TO PARTNERAslocalgovernmentsbegintoscopeoutopportunitiesforcreativeplacemaking,theyshouldtakestockofreadinesstosupportanauthenticpartnershipthatembodiestheprincipleslistedonpage11.Governmentsandartistswillinevitablyfinddifferencesintheirwaysofthinking,working,andcommunicating,andbothneedtotakestepstounderstandeachother’sstrengths,language,preferences,andwheretensionshavepotentialtoemerge.

UNDERSTANDING DIFFERENCESABladeofGrass’Municipal-ArtistPartnershipGuide’sUnderstandingDifferencestoFindCommonGroundreferencetoolsummarizeskeycharacteristicstypicalofartistsandgovernmentagenciesthateachshouldunderstandabouttheothergoingintoconversationsaboutapotentialpartnership.Majorelementsinclude:

Vocabulary.Governmentleansheavilyontechnicaljargonandacronyms,aswellasstraightforwardlanguageorientedtowardsolvingproblems,whereasartistsaremoreapttotalkaboutexploringambiguityandemotions.It’sespeciallyimportanttobeawareofcommontermsusedbybothstakeholdersthatmaymeandifferentthings,sometimestothepointofpolarizingtheotherside.Afewexamples:

• Asnotedelsewhereinthisguide,theterm“creativeplacemaking”itselfcanbeloadedandtroublesometoartistsandculture-bearersskepticalofgovernmentintentions(whetherbasedonpastexperienceorjustperception).

• Artistsandlocalgovernmentlikelyalsohavedifferentexpectationsandexperienceswiththenotionof“communityengagement.”

• The“design”skillsofarchitectsandplanners/urbandesignersaredistinctfromthoseofotherprofessionalartists.

Creatingateamunderstandingofthekeytermsthatwillbeusedtodescribetheworkearlyoncanhelpinclarifyinghowdifferentinterpretationsandrolescomplementeachotheraspartofthelargerproject.

Different ways of working.Artistsandgovernmentmayhavedifferent(evenopposite)expectationsaboutwhatdecisionsandprocessesshouldmovequicklyversuswhichrequiremoretimeforvettingoriteration.That’snotnecessarilyabadthing,asfrictioncanrevealblindspots,promptreevaluation,inspireprocessimprovements,andcreateopportunitiestoslowdownandbuildtrust.Beopentoquestionssuchas,Whydoesanapprovalprocesstakesolong?What’stheworstthatcouldhappenifyouopenupformorefeedback?

Risk.Explainingtherealitiesofpublicaccountabilityandlegalliabilitycanhelpprospectivepartnersunderstandgovernment’saversiontoriskandwhyredtapeissometimesnecessary.Appreciatethatthereisriskontheartistsidetoconsideraswell:willworkingwithagovernmenthamstringtheircreativeenergy,process,andindividualagency?Willtheybeabletosupportthemselvesifprojecttimelines,payments,andprocessesshift?

Power dynamics.Differentdimensionsofpowerwillexistinacreativeplacemakingpartnership.Understandingthemisthefirststep;takingmeasurestomanageandrebalancethemisamorecomplicated,longer-termeffort.


TheMunicipal-ArtistPartnershipGuideclassifiesmajortypesas:

• Convening power: theuniqueabilitiestobringpeopletogether.

• Knowledge power:themany,variedtypesofinformationandexperiencesdifferenttypesofstakeholdersbringtoanissue.

• Decision-making power:thepointsatwhichspecificstakeholdershavefinalsayonwhethertomoveforwardwiththeprocess.

• Financial power:controlofthepursestrings.

DIVE DEEPERPowerDynamicsintheMunicipal-ArtistPartnershipGuide.

In Community Development Information Review,apublicationoftheFederalReserveBankofSanFrancisco,theteambehindtheCenterforPerformanceandCivicPractice(CPCP)shareacandidsentimentheardduringtheirconsultingwithcommunitydevelopmentandmunicipalagencies:

Thethingthatmakesmemostuncomfortableaboutsettingupmomentstolistentocommunitymembersaboutprojectsandplansis:WhatiftheytellmewhattheywantandIcan’tdeliver?Isn’tthatabetrayal?Doesn’tthatproveIwasn’tlistening?Imean,wemakethedecisions.Sure,webasethemonfeedback,onresearch,onourownexpertiseinareaslikeconstructionandzoningandbudgeting.Butifweopentheconversationupandpeoplehaveanunrealisticwishlist,orabatchofcomplaints,Iknowwecan’taddressallthosethingswithintheparameterswehavetomakeaprojecthappen.Whysetupfalseexpectations?Whydisappointpeople?Whypissthemoff?15

NAVIGATING HAZARDS

Find power in new processes and in honoring new experiences.Isthescenarioabovefamiliar?Init,thereareseveralimplicitassumptionsaboutpowerworthreconsidering.

1.Communitymembersarebeingaskedtocritiqueasolution,notdefinetheproblem.

2.Theprocessforgatheringfeedback(listeningsession)mayperpetuateatraditionalpowerimbalance(pictureaphysicaldivisionbetweentheexpertandthecommunity).

3.Institutionsmakethedecisionsandwon’tbeabletomeetexpectations(butwhatiftheinstitutionsmisunderstoodtherootissue?)

4.Researchandtechnicalexpertisearemoreimportantthanlivedexperience.

15 MichaelRohd,RebeccaMartínez,SoneelaNankani,SaraSawicki,andShannonScrofano,“CreatingProcessforChange,”Transforming Community Development through Arts and Culture,FederalReserveBankofSanFranciscoCommunityDevelopmentInnovationReview2019-2,2019,frbsf.org/community-development/publications/community-development-investment-review/2019/november/transforming-community-development-through-arts-and-culture/.

Convening Power

Theuniqueabilitiestobringpeopletogether

Knowledge Power

themany,variedtypesofinformationandexperiencesdifferenttypesofstakeholdersbringtoanissue

Decision- Making PowerThepoints

stakeholdershavefinalsayonwhethertomoveforwardwith

theprocess

Financial Power

Controlofthepursestrings

TheMunicipal-ArtistPartnershipGuideclassifiesmajortypesofpoweras:


Whatifinsteadofalisteningsession,thecommunityandthelocalleaderssharedinanexperienceofco-creationordiscoveryaboutthepossibleissue.Aprocessfacilitatedbysomeoneexternalwhohelpedrebalancethepowerdynamics,wheretheywereabletointeractasneighbors.Whatnewinformationandrelationshipsmightthatyield,andhowmightithelpfutureinteractions?

DIVE DEEPERReadwhattheCPCPsuggestsispossiblethroughreimaginedprocesses,basedontheirexperiencesworkingincommunitiesfromAlaskatoMinnesotatoPhiladelphia,intheirfullcommentary:CreatingProcessforChange.

Find common language, or at least an understanding of how you’ll describe the work.Recognizingsomeofthevocabularychallengespreviouslynoted,thinkabouthowyoumaywantorneedtoframetheideasothatitiseasierforyourstaffandcounciltounderstandandembrace.Focusfirstontheproblemyou’retryingtosolve,thenonhowtoframewhatanewtypeofpartnershipmayoffer.

Seasonedcreativeplacemakingpractitionerswithexperienceworkingwithingovernmenthavefoundsuccessindescribingtheoverallapproachusingtermslike“strategicdoing”or“creativeproblem-solving,”whichmightmitigatesomeoftheanxietyaboutanunfamiliarapproach.Reflectingonherownexperiencesasaninitially“undercover”artistembeddedinlocalgovernment,ElizabethHambycitesanexampleofafellowartisthittingadeadendpitchingarttoapolicedepartment—butreturningwiththesameproposalframedasapublicrelationsstrategy.16

Appreciate and honor why an artist wants to work with local government.Despitedifferencesandreservationsaboutworkingwithgovernment,knowthatartistsdoseegoodreasonstocollaborate.Examplesincludearealdesiretounderstandhowsystemswork;anabilitytoinfluencedecision-making;andmorevisibleorimpactfulopportunitiestodemonstrateandsharetheirartisticabilities.

ASSESSING READINESSABladeofGrass’Municipal-ArtistPartnershipGuideencourageslocalgovernmentstoassesstheircapacityforthistypeofpartnershipbyaskingthefollowingquestionsearlyintheprocess:

• Whatcorestrengths,knowledge,sensibilities,andresourcescanwe(aspeopleandprofessionals)bringtothepartnership?

• Whatarethegaps?Whatmoredoweneedtolearntohelpusimagineanddefineopportunitiestoworkwithartistsinourcommunityand/oragency?

• Towhatdegreeareweabletoallowaspectsofthecreativeworktoevolvethroughcollaborationwiththeartist?

16 ElizabethHambly,“WhoaretheNaturallyOccurringArtistsinYourMunicipalAgency?,”AmericansfortheArts:Artists-MunicipalPartnershipsBlogSalon,2018,intranet.americansforthearts.org/2019/05/15/who-are-the-naturally-occurring-artists-in-your-municipal-agency.

“ The first time I really understood the power of creative placemaking was when I witnessed firsthand the relationships built between community members that may not have met each other if it were not for that particular creative placemaking project.”

Sarina Otaibi Rural Programs Manager Rethos: Places Reimagined Former Council Member Granite Falls, Minnesota


• Howopenarewetonewwaysofworkingthatmaydisruptourusualpractices?Whatisourriskthreshold?Wherecanwebendandwhatareourrisklimits?Canwebecriticallyreflectiveofourworkinordertopavethewayfornewwaysofworking?

• Isthetimingrighttoembarkonthis?Whatinternalandexternalfactorsmightpropelorimpedethiswork?

• Dowehavebuy-in?Whoarethechampionsinthecityandinrelevantdepartments?Whoaretheskeptics?Wherearethebarriersinthesystemthatwillrequirepreliminaryworktoensurebuy-inandassistance?

• Canandwillwecommittimeandresourcestopayartistsfaircompensationandprovidespace,accesstostaff,andotherresourcesasneeded?

• Howwillwethinkaboutincorporatingthisworkwithinstaffrolesandresponsibilities,andcompensationrequirements?

TAKE ACTIONAccesstheabovelist,pairedwithquestionsartistsmayaskoflocalgovernmentpartners,asadownloadabletool.

NAVIGATING HAZARDS

Acknowledge where you are starting. It is not just identifying the right artist partners that is important; the prospective artist partners will assess you as well.Theywillbelookingforindicatorsofreadiness,thatthelocalgovernmenthasthoughtthroughwhatanartistwillneedtofeelcomfortableandempoweredinapartnership.Ifalocalgovernmentdoesn’thavemuchofahistoryincreativeplacemakingwork,startingwithasmall-scaleprojectorworkingwithanintermediaryorganizationmoreexperiencedinliaisingwithartistscanprovideadegreeofassurance.

Addressing the financial requirements is a necessary piece of assessing readiness from both the local government and artist’s perspectives, and is described in greater detail on page 50.

Consider the cost of inaction.Thereareplentyofgoodreasonstobecautiousaboutenteringintoapartnershiporprocessthatfeelsriskyorambiguous.Butinsomeinstances,thegravityorurgencyofthesituationmaybeenoughjustificationtotaketheleap.CindySteinhauser,directorofcommunitydevelopmentinRochester,Minnesota,explainedthisfrommultipleangles.ShedescribedthedecisionsherteammadetomovequicklyinfindingwaystoengageartistsintheirmanagementoftheprotestsanddemonstrationsduringJune2020andtocreatecommunityhealingopportunities.Withactivityheatingupquickly,therewasn’talotoftimeforhandwringingortogothroughcomplexapprovalprocesses.Theentireprocesstooktwodaystotaltoconceive,securematerialsandsupportfromparksandpublicsafetystaff,andimplement.

“ Instead of creating projects internally from scratch, we’ve identified opportunities for ‘rapid experimentation’ by investing in organizations and individuals already doing the work. We help them expand their efforts and take note of their results.”

Carlos Contreras Former Director of Marketing and Innovation Albuquerque, New Mexico


Worriedthattoughfinancialtimesputfundingforartsandcultureatevengreaterrisk,Steinhausernoted,“artsaretheultimateequalizer.”Shesaid,“Whenyouhavegreaterequity,youhavegreaterreturnoninvestmentinyourcommunity.Itpaysbackinsomanyways,”citingcostsrelatedtopolicingorreboundingfromacrisis.

Start small and build from there.Thisrecommendationwasechoedbyartistsandexperiencedcreativeplacemakingpublicpractitionersacrosstheboard.Notonlyisitacceptable,itisoftenhighlyrecommendedtobeginwithsmaller,short-term,pilot,and/ortemporaryprojectstotestthewatersand“startdevelopingthosemuscles”forworkingtogether,asAshleyHanson,directoroftheSmall-TownCityArtistinResidenceprogram,describedit.Alternatively,considerinvestinginexistingopportunitieswithinyourcommunitythroughdonatingfundsorthroughsmallgrants.

SarinaOtaibi,aformercouncilmemberinthesameregion,agreed:“Myadvicetocitymanagersinexploringcreativeplacemakingistomakeitaboutengagingandconnectingwithyourcityresidents.Takeonsmall,visibleprojectstogetstarted,sothatyoucanbegintonormalizetheprocessforcitystaff,orcouncilmembersthatmaynotbefamiliarwithcreativeplacemaking.Thiswillprovidealow-riskstarttointegratecreativeplacemakingandprovidecredibilitytotheprocessbeforemovingontolargeprojects.”

MAKING THE CASEYouwilllikelyneedtoconvinceyourstafforgoverningbodytosupportcreativeplacemakinginitiatives.Severalstrategiesdescribedthroughouttheguideandsummarizedherecanhelpyoubuildthecase:• Articulate priority outcomes through existing community goals. Manycommunitieslistpublicsafety,economicdevelopment,andlivabilityasprioritiesintheircomprehensiveplans.Developprojectsandlinkdesiredoutcomesandevaluationtoolstoadvancethesegoals,especiallyinareaswhereyou’vehadtroublemakingprogress.

• Lead with the story. What’sthedreamheadlineattheendofthisprocess?Howwillthoseimpactedbytheworkbebetteroff?Whetheryouuseexamplesofsimilareffortselsewhereand/orpresentacompellinghypotheticalvision,storytellingiscentraltoeffectivelycommunicatecreativeplacemaking’spotential.

• Start with small projects that have a narrow focus.Tominimizeriskandintroducestaffandresidentstonewconcepts,focusononeortwooutcomesanddesignasmallpilotprojectaroundachievingthosegoals.

• Validate the practice.Makeitclearthatlocalgovernmentleadershipissupportiveofcreativeplacemakingbysituatinginitiativesintheadministrator’soffice,backinginitiativesupwithfunding,orholdingstaffaccountableviaupdatesonhowtheyareapplyingthesestrategiesintheirdepartment.

• Share success throughout the process.Don’twaituntiltheendofaprojecttoupdatekeystakeholders.Planfrequentupdatesandcelebrateprojectmilestones.


ASSEMBLING YOUR TEAMCreativeplacemakingpartnershipscanbeinitiatedthroughmanychannels,includingthroughtheartistthemselvesandbythelocalgovernmentsolicitingforservices.

FINDING YOUR ARTISTWhen they find you.Insomescenarios,suchastheAshland-Nyanzaproject,anartistmayapproachthelocalgovernmentwithanideaforaproject.Givenawidelyheldperceptionthatgovernmentscanbechallengingtoworkwith,thisisanencouragingpositionfromwhichtostart.Butamanager’smindmayquicklycyclethroughallthereasonstosayno—budget,timing,liability,oraninitialsensethattheproposedprojectmightnotobviouslyalignwithyourtoppriorities.Inthesesituations,keepinganopenmindisimportanttoseeifyoucanfindcommongroundbetweenyourinterests.Focusonunderstandingtheunderlyingproblemtheideaproposestosolve,andhowthecommunitywillbebetteroff.

Initiating a search.Withoutanyoneknockingatyourdoor,reviewingexamplesofthisworkmayleadtosuchquestionsas“Idon’tknowanyartists,sohowamIsupposedtoengageinthesestrategies?”or“CanIjusthirethatartisttodothesamethinginmycommunity?”Itishardtoknowwheretobeginafterlookingatretrospectivecasescenarios,buttherearecommonplacesyoucanlooktoidentifypotentialartisticpartnersifthe“perfectfit”inyourcommunityisn’talreadyclear.

ASK YOURSELF • CanInametheculturalorarts-basedinstitutionsalreadyexistingwithinmycommunity?

• DoIhaveanexistingrelationshipwiththem,andifnot,whocouldreachouttolearnmoreaboutwhoisinvolvedandtheworktheydo?

• DoIhaveanartand/orculturaladvisoryboardorcommittee?Ifso,couldtheyprovidemewithalistofartistswehavepreviouslyworkedwith?

• Doesthecommunitycurrentlyhaveanypublicart,andifso,howwasthatcreated?Whowasinvolved?

• Areanyofmystaffartiststhemselvesorengagedintheartisticcommunity?Couldtheyhelpmeconnecttothatcommunityorserveasaliaison?

Thesequestionscanhelpbegintoidentifytheartsandculturecapacityalreadyexistinginyourcommunityandmayhelpidentifyworkalreadyunderwaythatyoucouldhelpexpandwithfunding.Engagingwithalocalartistorartsorganizationcanserveasaneasyinitialstepbyleaningonexistingstaffknowledgeandexperience.


Ifyoudon’tknowwheretostart,lookforeitheryourlocalartsagencyorstateartsagencyasmanyofthemarewell-equippedtohelpyoustartnewconversations—readmoreaboutthemin“ArtsAgencies”onpage54.

Choosing the artist.Artistsandthemediumstheyemployareasvariedasthecommunitiesmanagersserve,soselectingtherightartistisimperative.Asuccessfulpartnershipisbuiltonaclearunderstandingoftheuniqueroleyouwantanartisttoplayinaprojectorprocessaswellasbuy-infromthecommunitytheywillbeworkingwith.Whendeterminingwhatyouarehopingtoachievethroughthepartnership,trytofocusontheprocessoverproducttoavoidpigeon-holingartistsintopredeterminedoutcomes.

ABladeofGrass’Municipal-ArtistPartnershipGuidesuggestsconsideringthefollowingcriteriawhensearchingforanartistpartner:

• Whatlevelofexperienceisneeded?Doesthescale,complexity,andnatureoftheprojectrequireahighlyexperiencedartistorcanyouhelpbuildcapacitywithapromisingartist?

• Doestheartistneedspecializedskillsorknowledgetoworkonaparticularissue?Forexample,iftheypartnerwithanagencythatworksondomesticviolence,willtheyneedtohaveexperienceinworkingwithpeoplewhohavedealtwithtrauma?

• Isitimportantthattheartistsharethesameculturalidentityorbeotherwisefamiliarwiththeplace,culture,orparticularpopulationtheywillbeworkingwith?

• Whatistheartist’sroleanddoesthathavespecificrequirements,likefacilitatingdialoguesortrainingstaffincreativetechniquesfortheircommunityengagementwork?

• Dotheyhaveanaffinityforworkinginaciviccontext?Municipalpartnershipscallforartistswholiketoworkwithdiversegroupsofpeople,arepatientinthefaceofbureaucracy,andvaluewhatothersectorsbringtoaproject.

Tools for solicitation.Aswithotherconsultingarrangements,manypublic-artistpartnershipswillstartwitharequestforqualifications,arequestforproposals,callforsubmissions,orsomeothersimilarprocess.Thesetakealittlemoretimeandefforttomanage,andthetemplatesandprocessesusedherewilllikelydepartfromthestandardelementsofotherpublicprocurementprocesses.Butacceptingsubmissionsandundertakingsometypeofdocumentedreviewprocesscanlendnecessarycredibilitytowhatcouldbeseenasasubjectiveprocessandmayevenberequireddependingonthescope.

SpringboardfortheArts’FindanArtistToolkitoffersmanyhelpfultipsindesigningaprocessandtemplate.Basicprinciplestokeepinmindinclude:

• Artistsareprofessionals,andyouwanttoworkwiththembecauseoftheirexpertiseandexperience.

• Payartists,becauseyoupayprofessionals.

• Betransparentaboutwhatyoucanpay.

• “Exposure”israrelyasubstituteforpaying.

• Createclear,understandablecallsandprocesses.

• Artistsretaincopyrightofsubmissionsandacceptedartworks.


DIVE DEEPERAccessthefulltoolkitforguidanceonwhentousevariousstrategies,suchasacallforartistsversusarequestforproposalsorarequestforapplications.

NAVIGATING HAZARDS

Think about how you will ensure the artistic approach and its results are reflective of the community.Doestheartistneedtocomefromand/orhavedeeprelationshipsestablishedwiththecommunity?Ifnot,whatistheplanforconnectingtheartistwithcriticalcommunitystakeholders,includingthosethatwillbemostdirectlyimpactedbythepotentialactivity?

Sharing technical requirements or other non-negotiable elements oftheopportunityisuseful,butensureyouareleavingspacefortheartisttohelpdefinetheapproachandpotentialoutcomes.

Consider potential underlying power dynamics.Asanexample,artscommissionsoragenciescanbeviewedbysomeartistsandculture-bearerswiththesameskepticismasappliedtolocalgovernmentingeneral—i.e.,partofthe“establishment.”Becarefuloflimitingyoursearchforanartisttoonlytheirnetworksorrecommendations.

Be sure to consider “barriers to entry.”Manyartistsaren’tusedtocontractingwithmunicipalgovernments’systemsforapplyingtoaprojectorregisteringasavendor.Inadvanceofbringinganartistonasaprojectpartner,thinkaboutwhattheywillneedtodotogetsetupwithinthesystem,andpotentiallycarveoutextratimetohelpthemnavigatethesystemforthefirsttime.

TAKE ACTIONTheNationalEndowmentfortheArtsandtheLocalInitiativesSupportCorporationdevelopedaseriesoftrainingwebinarsonaspectsofhiringandcontractingartists,suchasRFPs;CallsforEntry&Commissions;andFormalizingPartnershipthroughContracts,MOUs&Agreements;access free materials here.

FINDING YOUR INTERNAL CHAMPIONMunicipalandcountyorganizationsarecomplex,eachwiththeirownsetofrules,hierarchies,andculture.Bringinganartistinasapartnercanprovideafreshperspectiveonoperations,enablingthemtoobserveandquestionpracticestoidentifyareasforgrowth.Whilethis“outsider”pointofviewisvaluable,itcanbeoverwhelmingfortheartistanddifficulttomanageontheirown.Identifyingastaffmemberwiththecapacitytoworkshopideas,facilitatedecision-making,andhelptheartistnavigateinternalprocessesisanessentialaspectofasuccessfulpartnership.Withoutadesignatedinternalchampion,anartistcanfeeladriftinanorganizationandunabletoconducttheirwork.Theartistwillhavetospendconsiderabletimeandenergyfinding


alliesanddevelopingrelationships,andwhilethatwillremainanimportantaspectofthepartnership,achampioncanhelpbridgethatprocesssotheartisthasmoretimetofocusontheirwork.

Obviouschoiceswillbestaffintheunittowhichtheartist’sworkmostcloselyaligns.Butensuretheindividualhasthetimeandenergytobeaneffectiveliaisonandchampionforapartnershipandprocessfraughtwithahigherdegreeofunpredictability.

Ideally,thestaffmembershould:

• Beopentotryingnewthings,questioning/challengingprocesses,andnotoverlyrisk-adverse.

• Beapersonwhogetsthingsdone,findsworkarounds,andrarelyrunsintodeadends.

• Haveanappreciationforcommunityengagementandawillingnesstoworkwithotherstaffandthepublicinnewways.

• Beaproactive,strategicprojectmanagerandcommunicator.

• Bewillingto“gotobat”fortheartisttopromotetheirworktootherstaff,leadership,andthecommunity.

• Bethepersonotherstaffgotowhentheyhaveaproblem.

NAVIGATING HAZARDS

It starts at the top.Whileamanagermaynotbeabletodedicatethetimeneededtobetheday-to-dayinternalchampion,supportfromthetopdownwillgivetheartistcredibilitywithstaffandsetexpectationsthattheyareanimportantmemberoftheteam.

• ArtAtWorkworkedoutofthecitymanager’soffice,whichallowedartistMartyPottengertomoreeasilyopendoorstodifferentdepartments.Aftershehadworkedwithadepartmentdirectlytoaddresspersistentissues,itbecamelessimportantthatshecamefromthemanager’soffice,asdepartmentalleadershipandstaffhadexperiencewiththeuniqueandeffectivesolutionsshewasabletoproduce.

• BeforeAlanNakagawabeganhisresidencywiththeLosAngelesDepartmentofTransportation,thedepartmentdirectorsentoutamessageintroducinghim,explaininghisrole,andthathehadherfullsupport.Nakagawarecallshisfirstdayfondlyandwithsurprise:“Myfirstday,Iwalkedintothebuildingandeveryonesaid,‘Ohyeah,wereadaboutyou.’”AsimplemessagefromtherightpeoplebeforeIevenarrived,”hesaid,madeasignificantimpactandsetthetone.


STRUCTURING AND SUSTAINING CREATIVE PLACEMAKING PARTNERSHIPS Developinganappropriatebudgetandidentifyingfundingmustbepartoftheconversationtoinitiateandsustaincreativeplacemakingpartnerships.

BUDGETING AND PROCUREMENTArtists(andpotentiallyothercommunityparticipants)willneedtobecompensatedfortheirtimeandresourcesdedicatedtothepartnership’sactivities.

Budgets should account for the full range of artist and art expenses. Beyondtheartistsalaryorfeeandmaterialsandequipment,thepartnershipmayrequiretravel,permits,insurance,orotherbenefits.Theremaybeexpensesanticipatedrelatedtocommunityengagement,suchasmeetingoreventcosts,ordirectcompensationofparticipants.

Alsoconsidercostsrelatedtolocalgovernmentsupportforthepartnership,includingstafftime.Determineifitcanbeabsorbedwithincurrentworkloadsorwhetheradditionalcompensationmustbemadeavailable.

TAKE ACTIONTheMunicipal-ArtistPartnershipsGuideoffersthisbudgetingtemplatetohelpyouconsideracomprehensiverangeofexpenses.Inadditiontoestimatingthecosts,clarifyupfront(includingbuildingintocontractsandotherdocumentation)wherethosecostswillbeborne.

Professional fees should be commensurate with the type of work to be performed.Ifpartneringwithartiststoleadcommunityengagementeffortsorotherfacilitationservices,forexample,considerwhatyoumighthave


offeredtoa“traditional”planningconsultant.Inabsenceofbenchmarksbasedonrelevantpastprojectswithinyourlocalgovernment,useexamplesdescribedinthisguideorothercasestudiestogetasenseofreasonableranges.

Consider providing discretionary funding to the artist/project.Thisappliesespeciallytoartistresidenciesorsimilararrangements.Inadditiontosalary,SaintPaul,Minnesota,oneCity-Artistwasgivenanadditional$50,000fortwoyearsthattheyhadcontroltobudget(forcontext,thecity’stotalbudgetis$700million).AsformerSaintPaulartistAmandaLoveleenoted,“MyannualbudgetmeantIcouldbeginprojectsaspilotstotestthemout.Oncetheywereestablished,itwaseasiertofindfundinginotherplacestokeepthemgoing,astheirvaluebecameclearonceoutcomeswereexperienced.”Whilethisamountmightbefaroutofrangeforamuchsmallercommunity,evenasmallfractionofunrestricteddollarscouldprovideanimportantsignaltoanartistthattheirtalentsandinnovationaretrustedandvalued.

NAVIGATING HAZARDS

Recognize that standard procurement tools will likely need amending. AsalsonotedintheFindingYourArtistsection,standardforms,processes,andothertoolsmaynotaccountfornuancesofformallydoingbusinesswithanartist.Copyright,ownership,paymentschedules,andintellectualpropertyareareasofparticularconcern.Youshouldexpecttoneedtodiscussboilerplatetermsandbewillingtoadjust.

TAKE ACTION

TheMunicipal-ArtistPartnershipsGuideoffersmoredetailandlinkstoexamplesofcontractlanguageacrossvariouscomponents.

Look for ways to front-fund the work.Unlikegovernmentorotherinstitutions,artistsgenerallydonothavetheluxuryofreservesattheonsetofaprojectandthusarenotaseasilyabletoworkonareimbursementbasis.Theycannotaseasilygooutandpurchasematerialsorcommitresourcestootherdirectexpensesorevendedicatetimewiththeexpectationofeventualreimbursementorpayment.Thischallengecanpotentiallybemitigatedbythelocalgovernmentmakingpurchasesfortheartist(whichcouldhavecost-savingpotential,duetofavorablepurchasingterms),orbyfunnelingprojectresourcesthroughaprojectintermediary(whichthough,addingalayerofcomplexity,couldbeanetpositiveifitcircumventssomeofthelocalgovernmentrestrictions).

Be aware that artists may be prone to underestimating their time and rate.Don’texploitthis!Knowinglyorunknowinglylowballingaprojectwillonlyincreasetheriskofdisappointingoutcomesandabadexperienceallaround.Worktogetherwithaprospectiveartistpartner(consultingartsagenciesorotherresourcesasnecessary)toensurethatestimatedeffortandcostsseemreasonableand,totheextentpossible,allowforsomeunanticipatedchallenges.Encouragetheartistandyourstaffliaisontocommunicateregularlyandopenlyaboutanyunforeseenissues,ratherthanassumeonesidemustquietlybeartheburden.


Acknowledge the rigidity of public budgets.Anticipatethatcreativeplacemakingpartnershipswillhavemoreinherentmessinessorunpredictabilitythanothertypesofcontracts.Projecttimelineswillnotalwaysneatlyalignwithfiscalyears.Raisepossiblescenarioswithyourfiscalstaffearly,asyouaresettingupthecollaborationtomitigatepotentialissuesdowntheroad.Thisisparticularlyimportantwhereintendedresourceshavestrictguidelinesattached,suchasfederalfunds.Identifyanynon-negotiableitemsaroundtiminganddocumentationofexpendituresandclearlycommunicatethosebacktotheartist,includingfollow-upreminders.

FUNDING Asillustratedinthefigurebelow,theuniverseoffundingforcreativeplacemakingactivitiesmaycomefrominsideoroutsidethelocalgovernment,andfromwhatmightbedistinguishedastraditionalornontraditionalsources.Traditionalsourceswouldincludethosemoredirectly/obviouslyrelatedtoaspecificart-basedproject(i.e.,acapitalproject)orprogram.Nontraditionalsourcesalignwiththeevolvedconceptionofcreativeplacemakingasaprocess,notjustprojects,anditsapplicationtoawiderrangeoflocalgovernmentcontextsandfunctions.

EXISTING BUDGET AND REVENUE SOURCESWhilesomelocalgovernmentshaveestablishedbudgetsforartsandcultureprogramming,it’snotessentialtostart(orstop)yoursearchthere.Evenintimesoffiscalstress,itispossiblenontraditionalresourcesarealreadyhidinginyourcurrentbudget,waitingtobediscovered.Considerresourcesdesignatedforcommunicationsandmarketing,facilitationandcommunityengagementactivities,planningprocesses,capitalimprovements,professionaldevelopment,orconsultingservices.Thesecouldbereprogrammedand/orpiecedtogethertosupporthiringanartisttoperformsimilarfunctions,albeitinanewway.

nontraditional

traditional

Community (Cutural)EngagementCommunications(throughprojectwork)

(redefiningthetaskathand)

CREATIVE PLACEMAKING PROJECT FUNDING SOURCES

Capital Project FundingProgram Funding

(bringingartistsinthroughexisting projectroles—slightlyexpanded)

Cross-sector (transportation,publicsafety,etc.)

funding resources“issue”funding

Federal:National Endowment for the ArtsState:Arts and Historic Commission

Local: arts philanthropies“arts”funding

inside local government

outside local government

AdaptedfromCivic Arts


Additionally,yourlocalgovernmentmayhavetheabilitytoaccessnon-federalrevenuesourcesthatcouldbedirectedtowardcreativeplacemakingactivities.Thesemightincludespecialassessmentsforbusinessdistricts,taxesonutilities(suchastelecommunicationsinfrastructure),oruniquetaxingpowersgrantedbystatelegislation.Whenresearchingorbrainstormingaboutthesenontraditionalpossibilities,frameyourthinkingaroundintendedcommunitybenefits,suchasimprovedeconomicopportunities,publichealth,orpublicsafety.

PercentforArtfundsareanotheroptionforlocalgovernmentstoconsider.Anestimated350+stateandlocalgovernmentshaveimplementedpercent-for-artordinancesoverthepastseveraldecades,whichallocateadesignatedamount(oftenonepercent)ofspecifiedpubliccapitalimprovementand/orprivatedevelopmentcoststowardpublicartprograms.17

IN-KIND SUPPORTAnothergoodplacetostart(thoughideallynotend)istothinkabouttheuniqueresourcesyourlocalgovernmentcanprovidetoanartistpartner.Whatdoyouownorhaveaccessto,andwhatskillscurrentlyexistonyourteamthatcouldhelpsupportthepartnership?Commonexamplesincludeworkingspace,whetheranoffice,studio,orapubliclyownedperformanceordisplayspace;maintenance,marketing,administrative,orotherservices;equipmentandsupplies;orotherprofessionalstafftime.In-kindcontributionscanbeleveragedtoattractadditionalsupport.Staffexperiencedingrantwritingandmonitoringavailableopportunitiesmaybeabletotakeanactiveroleinfundraisingefforts.Andsincecreativeplacemakingprojectsarecenteredonpartnerships,perhapsacommunitypartnerwhoisjoiningintheeffortmightalsohavein-kindresourcesthatcanbebroughtinaspartoftheprojectaswell.

Thinkalsoaboutwhereyoucanintentionallyalignroutinespendingandoperationswithacreativeplacemakingstrategy.Ifyouhavelimitedannualresourcestoinvestinimprovingyourbikeorpedestrianinfrastructure,forexample,mightyoutargetthesameareaaroundwhichaplacemakingactivitywillbeconcentrated.

Aspartnershipsmature,bothintermsofworkingrelationshipsanddemonstratedimpacts,localgovernmentshouldconsideroptionsfordedicatedfundingtoformalizetheircommitmentstothework.

FEDERAL SOURCESArts-based. The NationalEndowmentfortheArts(NEA),anindependentfederalagency,hassupportedcreativeplacemakingpartnershipsforadecade,primarilythroughtheOurTowngrantprogram.Theprogramrequirespartnershipsbetweenlocalgovernmentsandnonprofits,atleastoneofwhichmustbeacultural(i.e.,artanddesign)organization.Grantscurrentlyrangefrom$25,000to$150,000andrequireacostshare/matchequaltotheamountoftheaward.Manyexamplesofin-kindsupportpreviouslydescribedcanbeprimeresourcestomeetthematchrequirement.

17 MetropolitanAreaPlanningCouncil,“WhatisPercent-For-Art?,”ArtsandPlanningToolkit, artsandplanning.mapc.org/percent-for-art.


Non-arts-based.Dependingontheintendedoutcomesofthepartnership,fundsfromadditionalfederalagenciesmaybewell-suitedtosupportyouridea—ifnotdirectlytotheartistpartners,asapieceoftheoverallpuzzle.Examplesinclude:

• DepartmentofAgriculture,specificallyruraldevelopmentprograms.

• DepartmentofHealthandHumanServices.

• DepartmentofHousingandUrbanDevelopment,suchasCommunityDevelopmentBlockGrants,LowIncomeHousingTaxCreditsortheHOMEInvestmentPartnershipsProgram.

• DepartmentofTransportation,thoughtheFederalTransitAdministrationhastightenedtheirguidelinestoallowonly“functional”artisticelements.

• EnvironmentalProtectionAgency,suchasbrownfieldsprograms.

• NationalParkService,suchashistorictaxcredits.

TAKE ACTIONThe CreativePlacemakingPublicResourcesGuideisaninteractivewebsitethatallowsuserstobrowseessentialinformationaboutpublicfundingopportunitiesbycategoryofprojectorkeywords,includingawiderangeofnon-arts-basedresources.

ARTS AGENCIESEachstateandterritoryhasadesignated“artsagency,”alsoknownasanartscouncil,commission,alliance,orsimilarname.Whileallaredesignatedbythestategovernmentandreceive/distributefundingfromtheNationalEndowmentfortheArts,theirspecificstructures,priorities,andprocessesdifferfromstatetostate.Artsagenciesalsoexistattheregional(i.e.,multistateandsubstate)andlocallevels.Inadditiontodirectfundingofartistsandculturalorganizations,agenciesmayprovidetechnicalassistance,conveneevents,supportculturalplanningandpolicyefforts,andbuildnetworks.Virtuallyallhaveengaged,directlyorindirectly,increativeplacemakingwork.Manyhavedevelopedinnovativeprogramminginpartnershipwithotherpublicagencies,leveragingresourcesacrossmultiplesectorstoenhancequalityoflife,createeconomicopportunities,andpromotelocalidentities.18Aslocalgovernmentsconsiderpotentialcreativeplacemakingopportunities,itisworthconnectingwithartsagenciesaboutwhererespectiveinterestsoverlapandcomplement.

TAKE ACTIONFindyourstateartsagencycontactfromtheNationalAssociationofStateArtsAgenciesdirectory.

OTHER LOCAL, REGIONAL, OR NATIONAL RESOURCESIfnotalreadyidentified,additionalsourcesnotedintheMunicipal-ArtistPartnershipsguidetoconsiderforfundingorstructuralsupport,orothertypesofcapacitybuilding,include:

18 NationalAssemblyofStateArtsAgencies,State Arts Agency Roles in Creative Placemaking, 2020, nasaa-arts.org/wp-content/uploads/2020/08/SAA-CPM-Field-Scan-FINAL-8-2020.pdf.

“ I think there’s a mutuality in this work that’s part of the learning adventure. It highlights the connections between people, place, and story and allows us to see our interdependence, how we need one another, and how we matter as part of community.”

Susan DuPlessis Community Arts Development Director South Carolina Arts Commission


• NationalfunderssuchastheKresgeFoundation,whichhasdedicatedsignificantresourcestoart,culture,andcreativeplacemaking.

• Communityorregionalfoundations.

• Intermediaryorganizationsfocusedoncommunitydevelopment,suchasnationalexamplesliketheLocalInitiativesSupportCorporation, NationalAllianceofCommunityEconomicDevelopmentAssociations, NeighborWorksAmerica,orothersfocusedexclusivelyinyourregion.

• Otherplace-basedentitiessuchasMainStreetprograms,culturalortourismdistrictsorregionalplanningagencies.

NAVIGATING HAZARDS

Leverage the power of the purse intentionally.Fundingisperhapsthedominantleverofpowerinapartnership.Often,thefundsinvolvedwilloriginatefromorflowthroughthelocalgovernmentbudget,furthercontributingtoanimbalanceofpower.Beawareofthisandbesureyouaretakingstepsoutlinedinthebudgetingandprocurementsectionofthisguidetomitigatethatimbalance.

Diversify your funding sources.Itiscommonforcreativeplacemakingefforts,particularlythosereceivingsupportfromthemostwell-establishednationalfundersofcreativeplacemakingactivities,todrawfrommultiplesources.Astudyofmorethan570projectsconductedbyDrexelUniversityfoundthatitwastypicaltohaveaprimarysourcecoveringaboutone-thirdofthetotalbudget,withsupportfromanother5-7sources(whichcouldincludein-kindorearnedincome).Localgovernmentscontributedamedianamountof$30,500perproject.19 Itshouldbenotedthatthesetrendsmaynotalignperfectlytosmaller-scaleprojectsand/orthosenotreceivingfundingfromtheNEA,KresgeFoundation,orArtPlaceAmerica.ButasnotedintheMunicipal-ArtistPartnershipsguide,“Whenaprojectgetsto‘we,’theresourcesareeasiertofind…excitementaboutitgrows,anditbecomesrelevanttostakeholders,itcanstimulatenewfundingprospects.”20

EVALUATING OUTCOMESMeasuringperformanceandevaluatingoutcomesareessentialinallgovernmentservices,butcreativeplacemakingstrategiesrequiredifferentapproaches.

Trafficcounts,availableaffordablehousingunits,andturnouttimeforEMSresponsearestandardmetricslocalgovernmentshaveusedtomeasureperformancefordecades.Properlymeasuringservicesestablishesabaselinetomakingdecisionsinprofessionalmanagement,butwhiletheoutcomes

19 RyanDebold,AndrewZitcer,ClaraPinsky,andtheLindyInstituteforUrbanInnovation,Financing Creative Placemaking: Analyzing Data and Trends for a Field In Transition,LindyInstituteforUrbanInnovation,2020, drexel.edu/lindyinstitute/initiatives/creative-placemaking-financing.

20 JanCohen-CruzandPamKorza,“Funding,”Municipal-Artist Partnerships Guide,ABladeofGrass/AnimatingDemocracy,2019,municipal-artist.org/nuts-and-bolts/the-nitty-gritty/funding/.


ofcreativeplacemakingstrategiescan(andshould)sometimesfitintotheseconstructs,theycanalsobelessfamiliarorenumerable,makingthemhardertomeasureandjustifywithtightbudgets.Expandingbeyondtraditionalmetricstoconsidersocialandcivicimpactscanhelpcommunicatehowinvestinginartsandculture-basedstrategieshavesignificantbenefitstothecommunityandservicedelivery.

DIVE DEEPERArtPlaceAmericahassurveyedanumberofdifferentissueareastolookathowartsandculturearedrivingspecifickindsofoutcomes.These“typologies”canbeahelpfulplacetostartinthinkingaboutwhatyouarespecificallytryingtoachievewithyourartsandculturework.Onceyou’veestablishedtheseintendedoutcomes,thetaskofidentifyingindicatorsandmeasurementplansbecomesmuchsimpler.

“ Don’t just look at the bottom line, the finances. Look at how the project ties to the community and tells their story. Look to this as an opportunity, a leap of faith for bigger and better outcomes.”

Michael Herbert Town Manager Ashland, Massachusetts


DEFINING OUTCOMES AND INDICATORSAnimatingDemocracy’sContinuumofImpactprovidesinsightonhowtomeasureandtranslatesocialandcivicoutcomescommonincreativeplacemakingprojects.Belowisasampleofadaptedexamplesfromtheirsixcategoriesthathelpbreakdowntheseintangiblebenefitsintomeasurablesuccess:

Sample Outcome Sample Indicators

Awareness&Knowledge:

Changesinhowpeopleassesschoices,makeinformeddecisions,andtakeactionforthecommongood.

Stakeholdersunderstandeachothers’viewsregardingacivicorsocialissue.

ChangesinquantityorcontentofpubliccommentsSign-ons,donations,otherevidenceofsupport

Dialogue&Discourse:

Changesinwhoengagesandhowtheyexchangewithoneanother.

Adversariesareabletoworktowardcommonunderstandingandproblemsolvinginanengaging,empatheticformat.

Residentswhodon’ttypicallyparticipateareengagedandheardCommonprioritiesidentifiedExpandednumberandtypesofengagements

Attitudes&Motivation:

Changesinthethoughtsandfeelingsthatunderliepeople’schoicesandaction.

Residentspreviouslydisenfranchisedorstigmatizedarevalued,respected,andincludedincommunitylife.

MorepositiveinteractionsbetweenmembersofthosepopulationsandothercommunityresidentsSupportforissuesexpandsbeyondthosedirectlyimpacted

Capacity:

Changesinabilitiesandmeanstoengageinciviclifeorsocialaction.

Marginalizedgroupsincreasestatusandcapacitytoinfluencechange.

New/increasedinteractionsbetweengovernmentandspecificsegmentsofthecommunityIncreasedfundingtoneglectedpopulationsorareasPublicartcreationsreflectingpreviouslyhiddencommunityhistory

Behavior&Action:

Changesinhowpeoplebehave,participate,andtakeactionintheircommunity.

Residentsengageinproblemsolvingandmakeimmediatechangesinbehavior.

DecreaseinnegativeordamagingbehaviorVotesorothermeasuresofsupportCommunityreceivesassetsdesired

Conditions:

Changesinpolicies,systems,andconditionsleadingtolastingresults.

Departmentsidentifypoliciesandpracticesthatwillmakethedepartmentmoreaccountabletounderservedresidents.

PoliciesandpracticesimplementedPositivemovementtowardintendedoutcomesResolutiontolongstandingchallengeorconflict

AdaptedfromAnimatingDemocracy’sContinuumofImpactGuide


TAKE ACTIONCreateyourownevaluationplanwithAnimatingDemocracy EvaluationToolortheMunicipal-ArtistPartnershipsGuide’sDocumentationTool.

Financial impacts of creative placemaking can be substantial but are often indirect.Earlierresearchoncreativeplacemakingfocusedheavilyonthepromisesofeconomicbenefits—thevalueofthecreativesector;multipliereffectsofcreativeinfrastructureinvestments;impactsonpropertyvalues,taxes,andrevenue.

Outcomesandprojectgoalsforourexpandedconceptsofcreativeplacemakingprocessesmaynotcenteronpromisesofeconomicindicatorsandbenefits,buttheycanbepowerfulmotivatorsforcontinuedinvestmentandsupportfromkeystakeholders.Relativelysmallinvestmentsinartsandculturestrategiescanprovidelargefinancialbenefitstothecommunity.

Projectshighlightedthroughoutthisguidedodemonstratesubstantialimpactstoactionandinsightintowhatinactioncancostyourcommunity:

• BreathingLights(page69)saw$4millioninadditionalinvestmentfornewinitiativescreatedasaresultoftheprojectand18%oftheabandonedbuildingincludedintheirexhibitsold.


• EdenNightLive(page76)attractedover18,000residentsandlaunched27newlocalbusinessesinapreviouslyunderusedspace,reducinghatecrimesreportedinthearea.

• ArtAtWork’sPublicWorksproject(page80)ceaseddiscriminationlawsuitsinthepublicworksdepartmentthatwerecostingthecityhundredsofthousandsofdollarsayear.

• WaterisLife’s(page31)effortsimprovedthewaterutilitycollectionratefrom32to89percentafteroneyear.

DIVE DEEPERFordatawonks,theUrbanInstituteandNationalEndowmentfortheArtspublishedextensiveresearchonawiderangeofmetricsandindicatorsinTheValidatingArts&LivabilityIndicators(VALI)Study:ResultsandRecommendationsreport.

TAKE ACTIONWatchafreetrainingwebinarfromtheNationalEndowmentfortheArtsandtheLocalInitiativesSupportCorporationonCraftinganEvaluationPlan&MeasuringImpact.

NAVIGATING HAZARDS

Engage stakeholders in defining desired outcomes.Unintendedconsequencesofnotcenteringthecommunityinprojectscanleadtoafocusonoutcomesthatexacerbateproblemsandcreateasenseofnotbelongingintheexistingcommunity.

Consider community empowerment and social cohesion outcomes alongside traditional development outcomes.Creativeplacemakingworkshoulddefinesuccessthroughthebenefittothosewithinthecommunity—thinknotionssuchasbelonging,civicengagement,andcollectiveefficacyratherthandollarsandcents.Inmanycases,itisthereductionofcommunitywellbeingtofinancialtermsthatartistsaretryingtocounteract.Thus,itisimportantformetricstoreflectthevaluesofthecommunityandartists,evenwhenbeingaugmentedwithfinancialdataasrequired.

ASK YOURSELF

• Areweusingmeasuresofsuccessthatreflectthewayartists,formalandinformalartsspaces,andcreativeinterventionshavecontributedtocommunityoutcomes?

• Isequitableevaluationcontributingtoanunderstandingoftheimpactofthework?21

Size evaluation efforts to match the project and explore different methods of measurement.Evaluationcanbetimeconsumingandexpensive,soprioritizeandright-sizeeffortsbasedoninvestmentandimpacttothecommunity.Creativeplacemakingstrategiesoutcomescan

21 MargyWaller,How Do We Know It’s Creative Placemaking?,AlliancefortheArtsinResearchUniversities,2019,a2ru.org/creative-placemaking-values-a-guide-for-practitioners-funders-and-evaluators.


“ Celebrate it, how we tell our stories around the creative placemaking field helps folks see themselves in it.”

Sean Starowitz Assistant Director for the Arts Bloomington, Indiana

bemeasuredthroughavarietyofmethodsthatcanbetailoredtomatchyourbudgetandprioritizedoutcomes.SpringboardfortheArts’Irrigatetoolkitofferssomeexamplesofmeasurementtoolstoconsider:

• Observation(headcount,somedemographics).

• Pre-andpost-surveys/questionnaires(self-administeredorgivenbysurveyor).

• Keystakeholderinterviews.

• Conversationswithparticipants.

• Focusgroups.

• Mediacoverage.

Accept that not all outcomes will be known at the beginning.Traditionalevaluationandassessmentpracticeslooktosee“howwe’vebeensuccessful.”Rememberincreativeplacemakingprojectsthatthepatternsofworkingareoftennewtomanyofthoseinvolved,sothere’softennowaytoknowinadvancewhattolookforintermsofsuccess.Letsomeprojectoutcomesemergeastheprojectgoesalong.Justnamingthemisanimportantsteptobeingabletotalkabouttheprojectwithothersandstructureadepartment’scapacitytoseeksimilartypesofresultsinthefuture.

DOCUMENTING AND COMMUNICATINGWithoutclearlycommunicatingthevalueofcreativeplacemakinginitiatives,theyaresusceptibletobeingwrittenoffasexpendablecosts.Communicatingyoureffortsandevaluationfindingswillplayalargeroleinsustainingprojectsandexpandingtheuseofartsandculturestrategiesinyourorganization.Considerthesestrategies:

Create comprehensive documentation.Establishalivingrecordoftheworkthatincludessuchdocumentationastheprojectgoalsanddesiredoutcomes,evaluationprocesses,lessonslearned,andsuccesses.Inadditiontofacts,includequotes,pictures,andvideowhenpossible.Thisinformationwillbeusefulininformingpeersaboutyourstory,aswellasseekingadditionalsupportforsustainingorexpandingthework.

Share your story:“Creativeproblemsolvingoftenincreasesmediaexposureandprofessionalaccolades,”saysAlanNakagawa,formerLosAngelesartist-in-residence.Useevaluationeffortstosharethestorywithinyourcommunityandtotheworldbeyond.Theseprojectsoftencreateopportunitiestocelebrateyourcommunityonaregionalandnationallevel.Reachawideraudiencebysharingthestorywithlocalmediaoutletsorthroughprofessionalpresentations,webinars,orarticles.


NAVIGATING HAZARDS

Loudly celebrate small victories along the way.Onceprojectsaredesignedandunderway,frequentlyupdatekeystakeholdersondevelopments,especiallywhenmilestonesarereached,andbeintentionalinrecognizingincrementalprogress.Projectswillinevitablyencounterunanticipateddelays,hurdles,andothersetbacks,butthisdoesnotmeantheywerenotworthattempting.

TAKE ACTIONWatchafreetrainingwebinarfromtheNationalEndowmentfortheArtsandtheLocalInitiativesSupportCorporationonDocumentingtheProcess&CommunicatingSuccess.

PROBLEM SOLVING THROUGH ARTS AND CULTURAL STRATEGIES62

POTENTIAL REALIZED: CASE STUDIESThissectionincludesmorein-depthcasestudiesillustratingsuccessfulcreativeplacemakingpartnershipswithlocalgovernmentsincommunitiesofallsizeslocatedacrosstheUnitedStates.

Ineachcasestudy,you’llfind:

• A community profilewithkeydemographicinformationtohelporientyoutothelocationofthefeaturedexample.

• The new approach to familiar problems whereyoucanfindabriefdescriptionofwhattheprojectwasandthecreativeplacemakingstrategiestheyused.

• The leading characterswhowereintegralinthesuccessoftheproject,bothinternalandexternaltothelocalgovernment.

• Evidenceofthisguide’sprocesses in action,highlightinghowthefeaturedprojectsdefinedtheiropportunity,preparedtopartner,assembledtheirteam,andstructuredandsustainedtheirwork.

• The outcomes and impacts,bothshortandlongterm,oftheprojectandthebenefitscelebratedbythelocalgovernmentorganizationandcommunityatlarge.

• Anopportunitytoask yourselfhowthesestrategiesmightapplytoyourowncommunity,orconsiderhowothercommunitieshaveapproachedproblem-solvingonsimilarthemes.


CASE STUDY 1

AMPLIFYING DATA TO MOBILIZE CHANGEPollution,emotionaltrauma,distrustingovernment.Someissuesgounseenorignoredinourcommunities.


N yanzaColor&ChemicalCompanydumpedandburiedover45,000tonsoftoxicchemicalsinthetownofAshlandbeforeclosingin1978.TheEPA

declared180acresofAshlandlandaSuperfundsitein1982andconductedcleanupeffortsoverthefollowingdecade,butastudyin2006revealedthatthespikeinrarecancersinthetownwereconnectedtothedyecontaminationthatcontinuedtothreatenthepopulation.Aportionofthesitewasprivatelyowned,andadeveloperwasbreakinggroundtobuildapartmenthousingdespitecontinuedEPAmonitoring.

NEW APPROACHES TO FAMILIAR PROBLEMS AfterreviewingtheEPAdata,artistandAshlandnativeDanBorellifoundthatresidentsdidnotrealizetheywerestillatriskfromthecontaminantsandadditionalcleanupwasneeded.Equallyashiddenasthecontaminantswasacommunityneedforaspacetoacknowledgeandhealfromthelastingemotionalimpactsoflossduetothesite.

Inconjunctionwiththetown,community,andsponsors,Borelliapproachedtheseissueswithathree-partproject:

THE LIBRARY EXHIBITIONAshland’sPublicLibraryhaslongbeenhometothequantitativehistoryofthecontaminantsastheEPA’sofficialpublicinformationrepositoryforthesite.Borelliworkedwiththecommunitytopreservethequalitativeimpactthroughthecreationofapublicexhibitarchivingfirsthandaccounts,memorabilia,andaninteractivemap.Theexhibithumanizedthedata,encouragingpeopletoorientandprojecttheirownmemoriesandexperiencesonthesubject.

THE STREETLIGHTSThroughoutAshland,thestreetswerebathedinred,yellow,green,andpurplelighttoreflecttheconcentratedcolorcontaminantsburiedunderground.Borelliheldwalkingtourswithresidentswhereheexplainedthehistoricalandongoingimpactsofthecontaminants,translatingthehiddendataintoaspatialexperience.

COMMUNITY PROFILEAshland, Massachusetts Population(2019):17,807

Demographics:• Whitealone:78.1%• Asianalone:10.3%• HispanicorLatino:7.1%• BlackorAfricanAmerican:2.7%

• Other:1.3%

MedianIncome:$121,406

PersonsinPoverty:3.7%

FY2020AdoptedGeneralFund:$58million


THE ASHLAND HEALING GARDENThefinalcomponentoftheprojectwasthecreationofamemorialgardenadjacenttotheSuperfundsite.There,astainedglasspavilionprojectscolorsontothebodytopromotehealingwhereitpreviouslyhaddoneharm.Communityyouthhelpedbuildthegardenthroughlandscapingprogramsthatduallyeducatedthemincommunityhistoryandpracticalskills.

LEADING CHARACTERS

PROCESSES IN ACTIONDEFINING OPPORTUNITY

• Community-Defined Problems:EventhoughBorelliwasanAshlandnative,residentswerewaryofdrawingattentiontotheirdifficultpastandthestigmaassociatedwiththeSuperfundsite.Borellibeganbylisteningtokeycommunityleadersandbuilthisprojectonafoundationofintentionalityandrespectthatvalidatedhisworkandgainedthecommunity’ssupport.

Dan Borelli Artist• Ashlandnative.• Projectoriginanddesign.• Coordinatedfunding.• Projectmanagement.

Michael Herbert Ashland Town Manager• Internalmanagerfortheproject.• Facilitatedcommunitydialogue.• Connectedpartnersthroughofficialchannels.

• Negotiatedthepurchaseofthecontaminatedland.

Marie Kane Community Figure• Ledadvocacyeffortsafterherson,KevinKane,diedin1988ofcancerlinkedtoNyanza.

• Communityleaderwholenthersupporttotheprojecthelpingbuildpoliticalwill.

Doug Small Ashland Public Works Director• AdvocateandchampionwithinthelocalgovernmentasalifelongresidentofAshland.

• Managedthecity’slogisticalinvolvementinthestreetlightsandhealinggarden.

Jamie Merloni New England Laborers Training Academy• Partneredwithcityandschooldistricttoestablishskill-buildingprogramforyouthtobuildthehealinggardenandeducatefuturegenerations.

“ Remediation is not solely a physical matter, it’s a cultural and social problem, and this project is creating a space of discourse, a permanent legacy of activism.”

Dan Borelli Artist


PREPARING TO PARTNER• Openness to Change:Residentsweredesperatetostoptheapartmentdevelopmentandbegantoself-organizeandturnedtothetownforhelp.Asthelandwasprivatelyowned,itwastechnicallyoutsidethetown’scontrolandthetowncouldhaveusedthisreasoningtostayoutofthedispute.However,seeinghowimportantitwastothecommunity,thetownapproachedtheissuewithopennessandchosetoworkcloselywithandsupportthework.

• Different Ways to Work:AprojectsuchasthishadnoprecedenceinAshland,andstaffatalllevelshadtocreativelyfindwaystoapproachthework.Fromsmallprocessaccommodations,suchasthoseneededtoinstallthecoloredstreetlights,tofundamentalchangestothetown’soperations,suchasarrangingthepublicpurchaseofcontaminatedland,theorganizationshadtoredefinetheirworktoaddressthecommunity’sneed.

ASSEMBLING YOUR TEAM• Artistic Approach:Borelliwasapartofthecommunity’shistoryandthisempoweredhimintheireyestoproperlytelltheirstory.Throughsuchuniqueparticipatoryexperiencesasthestreetlighttoursandstorytelling,BorellitranslatedtheimpactandimportanceofNyanzaonthecommunitytothosewhodidnotexperienceitthemselves.TownManagerMichaelHerbertrecalled,“Themostimportantthingthathappenedwaswestartedtalkingaboutstoriesinsteadofnumbers.WhenDansaidtheirnamesandsharedthefacesofthoselost,itchangedmyperspectiveandwashowIchangedtheperspectiveofothersinturn.”

• Internal Validation:TownstaffthatwereAshlandnativesbecameinternaldriversfortheproject.Herbertleanedonthemtohelprepresentthecommunityindecision-makingandtobuildsupportamongotherstaff.

“ Dan’s art project, and the concurring development on the Nyanza site, was a great opportunity to take a painful part of our past and turn that into a positive future that the whole town could get behind.”

Michael Herbert Town Manager

Ashland, Massachusetts


STRUCTURING AND SUSTAINING• Funding:ItwasimportanttoBorellitouseexternalfundstosupporttheprojecttohelpbuildpoliticalwilland“sell”theideatothecommunity.BorellifoundfundingfromsuchsourcesasArtPlaceAmerica,Harvard,andtheMassachusettsDepartmentofTransportation.Aftertheinitialinvestment,theprojectbuiltcommunitysupportforthetown’spurchaseoftheland.

• Sustaining:Oncethetownownedthesite,thecommunitycouldensurethelandwasprotectedagainstdevelopmentuntilitwasofficiallydeemedcleanbytheEPA,aprocessplannedtotakehundredsofyears.Plannededucationalprogrammingandwayfindingelementsonthesitewillservetoinformfuturegenerationsoftheirhistory.

OUTCOMES AND IMPACTSSHORT TERM

• Making invisible contamination visible through emotional experiences. WhiletheEPApubliclyreleasedthedataannually,itwasn’tuntilBorelli’sartisticinterventionthatthepublicwasabletoconnectwithitsmeaning.Thetownwasabletousethisattentiontoreignitetheconversationandbegintomakeactivestepsforchange.

• Connecting different stakeholders for community benefit.Theprojectgeneratednewpartnershipsbetweendifferentpeopleandentities,suchasthepartnershipwiththeMassachusettsDepartmentofTransportationtobuildthehealinggardenastheirtrainingclassroom.TheyinturnworkedwiththelocalhighschooltodevelopSkillBuilds,aprogramwhereschoolkidsworkoverthesummertohaveanintroductiontogeneralconstructionthroughworkingonthegarden.Thisinclusionofthecommunityledtoadditionalpartnershipswithlocalbusinesses.

LONG TERM• Changing public perception and trust in local government.WhenBorellibegantheproject,hefoundwidespreaddistrustinlocalgovernmentduetoNyanza.Ratherthanshyingawayfromthedifficulttopic,thetownaidedinhisworkandfacilitateddiscussions,engagingtheirresidentsinnewandpowerfulways.Towncitizensatisfactionsurveyresponsesincreasedby20%regardingtheoveralldirectionthetownistaking,confidenceintowngovernment,andbeliefthetownwashonest,andManagerMichaelHerbertattributesthistotheworkdonewiththeAshland-Nyanzaproject.

• Reigniting community activism and public engagement. In 2016, residentscreatedtheAshlandCitizensActionCommitteetoprotectthecommunityandadvocateforfullcleanup,becomingactiveparticipantsintheirownfuture.ThecommitteehasworkedwiththeEPAtodevelopanexpeditedcleanupplanthatiscurrentlyunderreviewforadoption.

• Safeguarding the community’s future health.Asadirectresultoftheproject,thetownwasabletobuildunprecedentedconsensustopurchasethecontaminatedlandtoproactivelypreventfutureharmtothecommunity.Insteadofbecominglow-incomehousingasplanned,thespacewillnowincludeparkland,trails,andeducationalcomponentstobecomeaspaceofhealingandremembranceforthecommunity,mitigatingagainstfuturetrauma.


ASK YOURSELF • Istheredataoranissueinyourcommunitywithsignificantimpactsthatyouwouldliketobringtothepublicconsciousness?

• Howcouldanartisthelphighlighttheseimpactsinawaythatconnectstothecommunityasseeninthiscasestudy?

• Howhaveyouaddressedpastinjusticesexperiencedbyyourcommunityandcouldartbeabridgetorebuildingtrust?

TAKE A TOURLearnmoreattheAshlandNyanzaProjectwebsite.

SIMILAR CASE STUDIESHIGHWATERLINE DELRAY BEACH, FLORIDA

Achalklinerepresentsfuturecommunitylossduetoclimatechange.

Problem:RisingsealevelsandextremeweatherbecauseofclimatechangeareaparticularthreattothecityofDelrayBeachandsurroundingcommunities.ThecityneededtopromotecomprehensiveregionalplanningtoimplementrecommendationsmadebytheSoutheastFloridaClimateChangeActionCompacttoincreasecommunityresilience.

Approach:ArtistEveMosherguidedcommunitymemberswhodrewa4-inchwidechalklinewithasportsfieldmarkertodemarcatewhatwillbefloodedorunderwaterinthreeDelrayBeachneighborhoodsduetoafour-footriseinsealevelacceleratedbyclimatechange.Residentshelpedmarkthepotentiallossoftheirownculturalassets,suchasportionsofthehistoricallyblackcommunity“FrogAlley.”Art-centeredworkshopsbeforeandduringthepubliceventgatheredpersonaloralhistoriesforuseinpolicyadvocacy,partneredwithlocalschoolstocreatepermanentmurals,andfosteredcreativebrainstormingforcommunityaction.


City Investment:PortionsoftheprojectwerefundedbythecityofDelrayBeachPublicArtAdvisoryBoardandcitystaffhelpedcoordinatetheeventandidentifylocallandmarksthatwouldhavethegreatestimpacttoinclude.

Outcomes: Theprojecttranslateddataintoavisceralexperiencethathelpedthecommunityunderstandtheurgencyofengagingandfundingresiliencyeffortsinresponsetoincreasingfloodingevents.

TAKE A TOURLearnmoreattheHighwaterlinewebsite.

BREATHING LIGHTS ALBANY, SCHENECTADY, AND TROY, NEW YORK

Artilluminatedtheneedforregionalcommunityrevitalization.

Problem: HundredsofvacantpropertiestoldthestoryofindustrialdeclineintheCapitalRegionofNewYork.Urbanblighthadbecomearegionalmainstayafterdecadesofignoringtheexacerbatingproblem.

Approach: ArtistAdamFrelinandarchitectBarbaraNelsonanimatedhundredsofabandonedbuildingsbyilluminatingwindowswithpulsatinglightsthatmimickedtherhythmofhumanbreathing.BreathingLightswasatemporaryartinstallationthattookplaceinthreeadjacentcities,centeredincommunityengagementthatwasdesigned,built,andactivatedbyneighborhoodresidentsandinvolvedover90communityorganizationsaspartners.

City Investment:Over20cityagenciesintheregionwereinvolvedincreatingtheproject.Thelightingequipmentwasinstalledinover200vacantbuildingsownedbymunicipallandbanks.Alongwithhiringneighborhoodcontractors,fundingfromtheprojectallowedthecitystafftimetoplan,coordinate,andimplementinstallation.

Outcome: BreathingLightsinstigatedincreasedgovernmentalcollaboration,civicengagement,economicdevelopment,andinvestmentinthearts.Allthreecitiescollaboratedforthefirsttimetocomprehensivelyaddressblightasaregionalissue.Sixty-fourpercentofresidentssurveyedsaidthatBreathingLightsstimulatedgreatercommunityengagementand67%expressedagreatersenseofprideintheirneighborhoods.Renewedattentiontoalong-ignoredissuebrought$4millioninlocalinvestmentsfornewartsinitiativesandfutureworkrelatedtovacancyandblight,including14grantsawardedtolocalartiststoproducenewworks.Eighteenpercentofthebuildingsconsistentlylitduringtheexhibithavebeensoldasof2018.

TAKE A TOURLearnmoreattheBreathingLightswebsite.


CASE STUDY 2

BUILDING LOCAL IDENTITY IN UNEXPECTED PLACESOnestormwaterbasin,18acresofland,andover20culturescomingtogether.


F argo,NorthDakota,isincrediblypronetoseverefloodingandutilizeslargestormwaterbasinstomitigatespringrain.Feelingsofisolationwere

exacerbatedintherefugeeandlow-tomoderate-incomeneighborhoodssurroundingan18-acrebasinthatsatemptyandbarrenamajorityoftheyear.

CityAdministratorPatZavoralrecognizedthequalityoflifechallengespresentedbythebasinsandaneedtothinkdifferentlytobetterserveandconnecthiscommunity.Followingtheinitialsuggestionfromacommunitymember,thecityinvitedJackieBrookner,anecologicalartist,tohelpengageresidentsinre-envisioningthebasinthateventuallybecametheFargoProject.

NEW APPROACHES TO A FAMILIAR PROBLEMPHASE ONE: BUILDING A COMMUNITY OF INTERESTBrooknerspentthefirstyearengagingover400differentcommunitystakeholdersinaseriesofpublicmeetingsco-ledbylocalartists.Thisengagementwentbeyondlisteningandhelpedtranslatetheimportanceofstormwatermanagementtothevariousstakeholders,generatingpublicinterestandestablishingrelationshipswithfuturepartners.Fromthesemeetings,acommunityadvisoryteamofkeystakeholdergroupsandguidingprincipleswerecreatedtohelppreservethecommunity’ssharedvisionthroughouttheproject.

COMMUNITY PROFILEFargo, North DakotaPopulation(2019):124,662

Demographics:• White:85.6%• BlackorAfricanAmerican:6.1%

• HispanicorLatino:2.8%• Asian:3.8%• Other:1.7%



FY2020AdoptedGeneralFund:$103,135,000


“ I thought that this presented an amazing opportunity to have local citizens experience their own possibilities for creativity. I don’t just mean art creativity: problem-solving in creative ways, making positive changes in their own local situations, working collaboratively.”

Jackie Brookner Artist

PHASE TWO: PROJECTDESIGNTheprimarydesignprocessforrenovatingthebasinculminatedinaone-dayeventandparticipatoryworkshop,WeDesign.Over200communitymemberscelebratedthededicationofthebasinbyaNativeAmericandrumcircleandintertribaldance,followedbyasharedmealanddesignworkshop.Participantsuseddifferentartisticmethods,suchasrearrangingpropsinagiantsandboxmodel,tosharetheirideasandvisionforthespace.Theseengagementstrategiesfocusedoninclusion,particularlyusefulforthosewithoutstrongEnglishskills.Brooknerthenincorporatedthecommunity’svisionintohercollectivedesign.

PHASE THREE: WORLD COMMON GARDENSThebasinhasbeenaworkinprogresseversince,engaginglocalartists,neighbors,engineers,landscapearchitects,ecologists,andnearly250localpartnersinthecreationofauniquespacethatmeetsthecommunity’scultural,ecological,andstormwaterneeds.Theyreintroducednativeplantandanimalspeciestocreateanatural,self-sustainingaquaticenvironment.Toactivatethespace,thecitygavesmallgrantstolocalorganizationstohostevents,drawingresidentstothenewparkandhelpingthemestablishitasacommunityasset.

LEADING CHARACTERS


• Community-Defined Problems:Brooknertookmorethanayeartounderstandthecommunityandwhatitneededbeforedesigningtherenovation.SheintentionallycreatedopportunitiesofinfluenceforNew

The late Jackie Brookner Ecological Artist• Projectlead,communityengagementfacilitator,andleadinvestigator.

• Managedhundredsofpartners.

• Maintainedthesharedcommunityvisionthroughguidingprinciples.

Nicole Crutchfield Fargo Planning Director• Internalprojectlead.• Internalchampionforunprovenarts-basedmethods.

• Helpednavigatethroughmunicipalprocesses.

Cali Ancha Community Leader and Activist• Consistentlyencouragedandengagedcommunitymembers,buildingsupportforproject.

• Bridgedcommunicationbetweenthecityandcommunitymembers.

• Servedasa“visionkeeper.”

• ProvidedhousingaccommodationsforBrooknerwhenvisitingFargo.

Rachel Asleson Communication Manager• Projectcoordinatorbetweenconstructionandartists,

• Coordinatedcommunicationbetween50+projectstakeholdersandpartners.

• Providedprojectupdatesandrecordstothepublic.


AmericanandNativeAmericanresidents,astheywereheavilyimpactedbytheprojectbuthistoricallyunderrepresentedindecision-makingprocesses.

• Guiding Principles: Theearlydevelopmentofguidingprinciplesservedasa“northstar”indecision-makingthroughouttheprojectandhelpednewpartnersunderstandandhonorthecommunity’ssharedvision.TheguidingprinciplesweredevelopedbasedoncommunityfeedbackandrefinedbykeyprojectcoordinatorsthroughBrookner’sfacilitationandincluded:letthewaterlead;learnfromthenaturalenvironment;involvethecommunitybycreatingasenseofbelonging;andexperiencenatureandecology.

ASSEMBLING YOUR TEAM• Artistic Approach: Brookner’sgenuineandnonjudgmentaldemeanorcoupledwithherdirectcommunicationstylegavehertheabilitytounitedifferentstakeholderstoworkcollaborativelytowardacommongoal.Shewasdedicatedtoincludingthepublicineveryphaseoftheprojectinawaythathadneverbeendoneinthecity,whichcontributedtotheproject’ssuccess.

• Internal Validation:Crutchfieldworkedextensivelyatthebeginningtoconvinceherskepticalcolleaguesofthevalueofanarts-basedapproachtostormwatermanagement.Sheaccomplishedthisthroughactivelylisteningtohercoworker’sconcerns,takingtimetouncovertherootoftheissue,andthoughtfullyaddressingthemcollaborativelywithBrookner.

STRUCTURING AND SUSTAINING• Funding:FundingtheFargoProjectrequiredcreativitytofindsupportfromsourcessuchasfoundations,academicresearchers,thestate,andthecityitself.BrooknerandCrutchfieldwroteandcoordinatedgrantapplicationstocontinueexpandingthescaleandreachoftheprojecttothecommunity.

• Sustaining:Thecitythoughtitwouldbedonewiththeprojectinayear,but10yearslateritcontinuestoevolve,findingnewpointsofdiscoveryandpartnershipsthatcontinuetochangetheplan.Toallowforthisflexibility,thecityuseda“sketchandtest”approachbydevelopingsmallpartsoftheprojectatatimesoplanscanadapttochangingcircumstances.


• Improvements to stormwater management.Theprojectincludedthereintroductionofnativeplants,wildlife,andnaturalwaterflowthroughoutthebasin.Creatingpathwaysforthewatertomoveeliminatedstandingwaterandreducedthemosquitopopulationinwarmermonthsandplantingnativespeciesfacilitatedthegrowthofdeeperwaterinfiltrationandrootsystems.Testinghasprovenasignificantincreaseintheunderstandingofwaterqualityissues.

“ Today, I know that when engaging arts and culture strategies, there’s really almost a ‘secret sauce’ element. And you know it when it’s there–it’s there when people are connecting with the issues in deep and real ways, it’s there when partners who never spoke to each other are sitting together around the table, it’s there when suddenly the mayor begins to talk about the importance of creativity within the community, and it’s there when you stumble upon ideas and solutions that were never visible before.”

Nicole Crutchfield

Planning Director Fargo, North Dakota

(EngagingLocalGovernmentLeadersblog,March 12, 2020)


LONG TERM• Incorporating social engagement skills in other city services and

projects.AccordingtoNicoleCrutchfield,“Theworkwedotodaytodesignandplanourcity’sinfrastructureandopenspaceshasforeverchangedbecauseofJackie’sinvolvement.Whatstartedasapublicengagementstrategyhasnowblossomedintoalargeradaptivestrategythathelpsusaddressourmostcomplexproblemsinnewways,andtodosohand-in-handwiththecommunity.”Whenrespondingtocivilunrestrelatingtocitypolicepoliciesandcorrespondingsocialinjustice,thecityreliedonrelationship-buildingstrategiesthatthePlanningDepartmentlearnedonbehalfoftheworkwithTheFargoProject;suchasactivelistening,buildingacommunityofinterest,andaskingthecommunitytolead.

• Cultivating Fargo’s social fabric through essential infrastructure. PriortotheFargoProject,theinfrastructurewasnotadestinationforsocialusebecauseitwasnotdesignedwithpeopleinmind.Thespaceisnowprogrammedasacommunitycommonsthattranscendsculturalbarriersandfeaturespathwaysforwalking,designatedareasforgardening,anoutdooramphitheater,andmore.

ASK YOURSELF• Whatexistingassetsmakeyourcommunityspecial?Whatopportunitiesmighttherebetorallypeoplearoundassetpreservation,revitalization,orcreation?

• Howareyoupromotingcommunityconnectionandaretherewaystodeepenthoseconnectionsthroughprogrammingorfacilitation?

• Howoftenaredecisionsmadebasedsolelyonthebottomline?Whereisthereroom,orneed,tocomparethemtoasharedvisionforthecommunity?

TAKE A TOURVisitTheFargoProject’swebsite.

SIMILAR CASE STUDIESONE POEM AT A TIME LOUISVILLE, KENTUCKY

Poetryandphotographyreplaceadstoaccuratelyrepresenttheidentityandvalueofacommunity.

Problem:Predatorybillboardsadvertisingcheaplawyers,drugsniffingdogs,andpaydayloanspepperedLouisville’soldestAfricanAmericanneighborhood,Smoketown.Theseconcentratedmessagescreateasocialtoxinthatimpactstheemotionalwell-beingandhealthofresidentsandoutsider’sperceivedvalueofSmoketown.

Approach:From2017-2020,nonprofitIDEASxLab—throughtheleadershipofartistsHannahDrakeandJoshMiller—replaced30billboardsin


SmoketownandLouisvillewithpositiveimagesofpeopleandplacesfromthecommunitypairedwithone-linepoemswrittenwithneighborhoodresidentsthroughfourdifferentroads.Alaunchpartyeventincludedguidedpoetrywalks,monologues,andconversationsbetweenresidentsandcityofficials.

City Investment:LouisvilleMetroDepartmentofPublicHealthandWellnesspartneredwithIDEASxLabonthreeofthefoursetsofbillboards.AdditionalsupportcamefromtheLouisvilleHealthAdvisoryBoardCultural/SocialImpactCommitteeandcommunitypartnersincludingYouthbuildLouisville,BatesCommunityDevelopmentCorporation,theSmoketownNeighborhoodAssociation,andmore.

Outcomes:OnePoemataTimewasdesignedtosparkcommunityplanningfocusedonpolicychange,specificallyonrestrictingpredatoryadvertisingincommunitiesthatareintheprocessofrevivingandrebuilding.Theimagesandwordsreflectedthevibrant151-year-oldcommunity,reiteratingapositiveneighborhoodidentitywithSmoketownresidents.Residentswereinspiredtodirectlyinfluencetheircommunitythroughcivicengagementthatledtocity-widepolicychangespecifictohowcommunitymembersarenotifiedaboutabusiness’sapplicationtosellliquor.

TAKE A TOURVisittheprojectwebsiteatIDEASxLab.

MY PARK, MY POOL, MY CITY AUSTIN, TEXAS

Liveperformancesleadtoreinvestmentinthecity’sagingaquaticinfrastructure.

Problem:Austin’sextensivepoolsystemwasfallingintodisrepairafterdecadesofdisinvestment.Throughacombinationofinsufficientfundingforyearlymaintenanceandtheaverageageoffacilitiesbeingover50yearsold,severalpoolswereonthevergeofbeingshutdown.ThepoolsatgreatestriskwerethoseservingthehistoricallymarginalizedAfricanAmericanandLatinoneighborhoodsofEastAustin.

Approach: Austin-basedForkliftDanceworkscreatedperformanceswithstaff,lifeguards,andneighborhoodresidentsoverthreesummerstohighlightthecommunityimportanceofthepoolsandtellthestoryoffailinginfrastructure.Communitymeetingsandpoolpartieswerehostedinadditiontolarge-scalecommunityperformancesthatsoughttoeducatethepubliconfacilityoperationsandactivatecommunityconversationandadvocacy.

City Investment:Thecitypaidforemployees’timewhileperforming,andprovidedaccesstopublicfacilities.ForkliftDanceworksfundraisedfortheirartisticcosts.

Outcome:Followingthesedancesforcitypoolsagreatcity-wideunderstandingemergedontheimportanceofpoolsascommunityinfrastructure.Abudgetanalystattendingoneperformancegainedanewunderstandingoftheinfrastructurefundingissuesanditsimpactsonthecommunityuse,resultinginanincreaseof$1.4millionannuallytotheaquaticsbudget.Inaddition,a$40millionaquaticsbondwasalsopassedforcapitalimprovements.

TAKE A TOURVisittheprojectwebsiteatMyPark,MyPool,MyCity.


EDEN NIGHT LIVE ALAMEDA COUNTY, CALIFORNIA

Sheriff’sdeputiestransformavacantlotintoavibrantcommunityplaza.

Problem:Ashland-CherrylandisapredominantlyHispanic,AfricanAmerican,andAsianlow-incomeareaofunincorporatedAlamedaCountywithlittlefundingforeconomicdevelopmentprogrammingandfewculturalinstitutions.Crimeintheareahasbeenapersistentissuesincethe1970s,withassaultandrobberyratesnearlytriplethatofothercommunitiesinthearea.

Approach: TheAlamedaCountyDeputySheriff’sActivityLeagueengagedcommunitypartnerstodevelopamoreproactiveapproachtoreducingcrimeratesandactivatingspace.EdenNightLivewasacommunityhubthatprovidedentertainment,engagement,andbusinessdevelopmentopportunitiesinapreviouslyunderutilizedandvacantcommercialcorridor.EdenNightLivefocusedonsupportingandbringingtogethersmallandlocalbusinessesthrougheventsthatincludedothercommunity-buildingelements,suchasvolleyballandbasketballcourtswithscheduledleaguegames,apop-upciviccenter,andastage.

County Investment:Thesheriff’sofficehadover15deputiesinvolvedinthedevelopmentandstaffingofevents.Theboardofsupervisors’officechairsandconvenesongoingdevelopmentandplanningmeetingsandbuildssupportfromcountycommissionersandthecommunity.


Outcome:Officersinvolveddevelopedanewunderstandingoftheirrolebybecomingproactiveparticipantsincommunity-buildinganddevelopment.Theywereabletobuildpositiverelationshipswithcommunitymembersoutsidecrisissituations,promotingagreaterleveloftrustandunderstandingthatshifteddepartmentalpriorities.Otherdirectresultsincludedthecreationof27newlocalvendorsthroughaccessibleeconomicdevelopmentopportunitiesthatdidnotdisplaceorexacerbategentrificationandthefosteringofcommunityidentitywithover18,000residentsparticipating.FundinghasbeensecuredfromtheparksdistricttomakeapermanentplazainthespacewhereEdenNightLivewasheld.

TAKE A TOURAlameda County Deputy Sheriff’s Activities Leaguewebsite.

Urban Institute’s Project Research Report


CASE STUDY 3

IMPROVING GOVERNMENT-COMMUNITY RELATIONS THROUGH ARTISTIC EXPRESSIONPoliceshootings,racism,employeemorale,communityrelations:smalltown,bigproblems.


I n2005,PortlandcityleadershipattendedatheaterperformancewrittenanddirectedbyMartyPottengerthatsharedthestoriesofPortland’sdiversepopulation,includingthoseofthemayor,firechief,anddirector

ofequalopportunity.TheimpactoftheperformancescreatedawillingnessonthepartofthecitymanagertogreenlightPottenger’sproposaltojoinhisdepartmentandlaunchanationalinitiativenowknownas“ArtAtWork.”

From2007to2015,Pottengerimplemented15distinctarts-basedprojectsdesignedtotacklenon-arts-basedchallengeswithincitygovernmentandthecommunityitserves.Theseprojectsputcreativitytoworktodelivermeasurableoutcomesthatfocusedonissuesrangingfromafatalpoliceshooting,inter-agencyracialdiscrimination,historiclowpolicemorale,communitydisengagement,highturnover,andmore.

LEADING CHARACTERS

NEW APPROACHES TO FAMILIAR PROBLEMSFOREST CITY TIMES: IMPROVINGPOLICE-COMMUNITYRELATIONS WITH THEATERThe Issue:Policewerelabeledas“murderers”and“assassins”asrocksandbottleswerethrownatthemandtheirvehicles.Intensifyingtensionsbetweenthepolicedepartmentand(primarily)immigrant/refugeeyouthfollowingthedeathofaSudanesemanduringaconfrontationwithPortlandpoliceofficersledtothecreationofForestCityTimes.

COMMUNITY PROFILEPortland, MainePopulation(2019):66,215

Demographics:• White:82%• BlackorAfricanAmerican:8.3%

• HispanicorLatino:3.4%• Asian:3.5%• Other:2.8%



FY2019AdoptedGeneralFund:$194million

Marty Pottenger Founder and Director Art At Work Theater Artist Arts-based Civic Dialogue Facilitator• Workedincollaborationwithcitystaffinidentifyingproblems,designing,implementing,andevaluatingprojects.

• From2007to2015,implemented15projectsinvolving75localartists,12cityagenciesandunions,and4neighborhoodassociations.

Michael Sauschuck Commissioner Maine Department of Public Safety Former Assistant City Manager and Police Chief Portland, Maine • Asalieutenant,helpedleadthepolicedepartment’spoetry/photographyproject“ThinBlueLines,”amajorsuccessandturningpointforincreasedinvestmentinArtAtWork.

• Publiclyandprivatelyadvocatedforarts-basedstrategies,securingsupportandfundingforArtAtWorkashiscareeradvanced.

• ServedasdepartmentalliaisonforAAW’s“ForestCityTimes,”aperformanceresponsewithofficersandAfrican-bornyouthtoafatalpoliceshooting.


The Approach:TwooriginalplaysperformedbypoliceofficersandAfrican-bornhighschoolstudentsaddressedyouthattacksonpoliceandcityworkerstoover1,000Portlandhighschoolstudentsandfaculty.Thefirstperformancewaswritten,staged,andperformedbyninestudentsandexploredtherelationshipbetweenyoungimmigrantsandthepolice.PortlandPoliceChiefaskedPottengertowriteanddirectasecondperformancethatcommunicatedthepoliceofficers’willingnesstoengageintransformationalchangewithyouthtounderstandeachother’sperspective.ForestCityTimesconcludedwithfacilitateddialogueamoungofficers,students,andaudiencemembersthatexaminedwheretheywere,wheretheywantedtobe,andhowtheymightgetthere.

Critical success factor:Recognizingtheperspectiveofbothsidesinacomplicatedissueandworkingtogethertocreateaspacefordiscussion,healing,andrelationshipbuilding.

PUBLIC WORKS: COMBATING RACISM WITH STORYTELLING AND PRINTMAKINGThe Issue:AcultureofunawareandintentionalracismanddiscriminationresultedinpoorcommunityrelationsaswellasmultiplelawsuitsfiledagainstthePublicServicesDepartment—andthecity.

The Approach:Storytellingandprintmakingworkshopsthatfocusedonraisingawareness,visibility,andappreciationforheritageanddiversitywereconductedinthedepartment’s10divisions.Participantstoldtheirstories,carvedblockprints,andcreatedillustrationsrepresentingtheirfamilies.Thestoriesfocusedonactualheritage—Greek,Italian,Franco,Irish,English,Russian—thusunderminingtheideaofa“white”identity.Selectedimageswereprintedontopapercoffeecupswiththename,job,yearsofservice,andaquotefromindividualemployeesandusedbylocalcoffeevendorsthroughoutPortland.Theincreasedvisibilityandawarenessofworkaccomplishedbypublicservicesemployeesimprovedcommunityandinternalrelations.

“ I’ve had lots of jobs, but this one lets you feel good about what you do. When I finished this picture, I stood back, looked at it, and said ‘That’s my life.’”

Dave Melendez Trainer Portland Public Services

We will be following the same footsteps and the same road

We will be tracing the same circle over and over again

That is until we dare to make a change In order to be one we must live as one

From “The Weeping City”


Intheyearfollowingtheproject,therewasa50%reductionindiscriminationsuitsfiled;finishedprintswereframedanddisplayedatalldepartmentfacilitiesandcityhall;andemployeesinvitedArtAtWorkbacktopartneronaCDBGproject.

Critical success factor:Addressingnotionsof“whiteness”andracismheadonthroughcreativeexpressionandpersonalaccountability.

CITY WRITERS GROUP: APPRECIATING PUBLIC SERVANTS THROUGH PHOTOGRAPHY AND STORIESThe Issue:Atreasuryclerkjokesatherownexpensethat“peopleloveher”afterdescribingtakingpaymentsforparkingticketsandpropertytaxes.Shethenrecitesamovingpoemaboutthestoriesshehearsatthedesktocitycouncil.Employeemoraleandconnectionwaslow,andpoetrybecameanimportantvehicletoaddresstheseissues.

The Approach:ThemonthlymeetingsoftheCityWritersGroupwereattendedbyemployeesfromparking,dispatch,treasury,survey,engineering,housing,fire,police,corporationcounsel,generalassistance,andthelibrary.Twohoursallowedfortimetocheckin,write,read,andsharepositivefeedback.Ateveryothermeeting,thegroupwroteabouttheirworkwiththecity;topicsincluded“firstday,”“worstday,”and“mentors.”Theyear-endanniversaryoftheCityWritersGroupwascelebratedbycreatingachapbookwhereparticipantspairedaphotographtheyhadtakenontheirworksite

“ What we all need to remember is that community engagement is a constant work in progress. What have we done the past year, past six months, past month? Building public trust with those we serve should always be a priority. Trust provides one of the cornerstones for our work and when times get tough it also gives you something to fall back on. Powerpoint presentations and data are important, but art is one tool that really serves to enhance our relationships.”

Michael Sauschuck Commissioner Maine Department of Public Safety Former Assistant City Manager and Police Chief Portland, Maine

Hands…different colors, different shades of flesh, soft, rough, leathered, smooth, wrinkled, gnarled, large or small and delicate… Hands extended toward me with cash — crisp and sticky straight or wadded up bills — sweaty, soft and worn.”

Excerpt from “Hands”Written by Tina Carlstrom, Portland clerk, Treasury Department


andashortsectionoftexttheyhadwritten.Thesewerealsomadeintolargepostersandhungattheirworkplaces.AspartoftheImpactDesign,theywerehungwherestaffandthepubliccouldseethem—inthe911DispatchCenter,PortlandPublicLibrary’sArchives,anelevatorinamunicipalparkinggarage,thewaitinglineintheTreasuryoffice,andsoon.Thisincreasedawarenessoftheworkthatcityemployeesdo,aswellasincreasingcityworkers’prideinhavingtheworktheydobesovisiblyacknowledged.

Critical success factor:Encouragingstafftotelltheirownstoryandhelpingthemexplorenewwaystodosotogetherfacilitatedastrongersenseofinterpersonalunderstandinganddeepenedrelationshipsacrossdepartmentswhileimprovingemployeemorale.


• Community-Defined Problems:MartyPottengerembeddedherselfincityoperationsuntilshehadagoodsenseofthework,whatwasgoingwell,andwhatcouldusesomeresource.Shewouldjoinpublicandinternalmeetings,participateinridealongs,andattendeventsprimarilyasalistener.Forexample,ThinBlueLinesdevelopedoutofaprotestofficersmadeattheswearinginoftheirnewchief.Subsequentvisitstopoliceheadquartersrevealedtheforcewasexperiencinghistoriclowmorale,acostlysituationfromanyperspective.Afterthefirstyearofatwo-yearpoetry-photographycalendarproject,83%oftheparticipatingofficersreportedanincreaseinmorale.

ASSEMBLING YOUR TEAM• Artistic Approach:Pottengerusedherabilitytoengagewithdifferentpublicsandhercommitmenttodiversity,senseofhumor,fun,andwarmthtoempowerindividualstoactivelyparticipateinartisticworkandconvincethemanyonecouldbeanartist.Whetheritwasapoliceofficer,electedofficial,orresident,eachprojectresultedinanewfoundabilitytoconnecttotheissueathandthroughcreativeexpression.

• Internal Validation:InvitingPottengerinwasthefirststepbycityleadership,butplacingherwithinthecitymanager’sofficesolidifiedhercredibilityandsentaclearmessagethatarts-basedstrategieswereanintegralpartofhowthecitywouldconductbusinessmovingforward.Leadershipallies,includingtheassistantcitymanager,mayor,andchiefofpolice,wereimportantleveragewhenfirstworkingwithstaff.Onceshewasinsideadepartment,shefound“unofficial”leadersthatbecamealliesinpromotingtheworkandbuildingtrustessentialforthesuccessofaproject.

STRUCTURING AND SUSTAINING• Funding: Thecitybudgeted$5,000annuallytoArtAtWork’sprojects,aswellas$35,000inbenefitsandin-kindadministrativesupport.WhilePottenger’ssalaryandfundingforindividualprojectsweresecuredthroughexternalfoundations,thisbaselineprovidedherimportantstabilityandcredibility.

• Evaluating Outcomes:Pottengerdesignedherprogramstomeetdepartmentalandcitygoals,andconductedthoroughevaluationsthatmeasuredwhatmatteredtocityleadership.Pottengerworkedwithanexternalconsultantearlyontolinkevaluationplanningtoprogramplanningthathelpedleadershipunderstandherwork’scredibilityandimpact,andjustifiedcontinuedinvestment.



• Increased community exposure to public servants.Cityemployeescreatedhundredsofworksofart,performances,poetryreadings,andcivicdialoguesthatengagedover25,000peopleintheregionandreachedoveramillionpeoplethroughlocalandmajormediaoutlets.Theartincreasedresidents’awarenessofcityemployeesasthree-dimensionalpeopleandcityworkers’self-respectandprideintheirwork.

• Substantial return on investment for city finances.SmallinvestmentsinArtAtWorktoproactivelyaddressproblemssavedthecommunitythousandsofdollarsinlegalfees,recruitingcosts,andtraining.AsMichaelSaushuckexplained,“Forsomepeople,it’scounterintuitive.We’rehavingatoughbudgetyear,sohowcanweingoodfaithsupportthearts?Butsmallinvestmentsofmoneyintheartsareworththebenefitsyougaininteractingwithemployeesandthepublic.It’stoughtoquantify,therewasnoquestion,buttheresultsareoffthecharts.”

LONG TERM• Shifting the city’s approach to problem-solving.Thisassets-basedapproachcenteredart-makingasavaluable,cost-effective,andsustainabletoolforreachingconcrete,innovativesolutionstomunicipalandcommunityproblems,whiledeepeningthepublic’sawarenessandappreciationoflocalgovernment’sroleincreatinghealthy,educated,engaged,andeconomicallyvibrantcommunities.Thesustaineduseofthesestrategiesandfocusonstaff-ledprojectschangedthewayemployeesviewedtheirworkandshiftedtheorganizationalculture,empoweringemployeestotakeriskswhenaddressingcommunityissues.

• Deepening internal and external networks.Externally,structuresweredevelopedforongoingcommunicationandrelationshipsbetweenmunicipalandcommunityleaders.Theseprojectsdecreasedtensionsandincreasedcollaborativeactivitieswithinandbetweendiversecommunitiesandthecity,asseenbetweenthepoliceandyouthinForestCityTimes.Internally,staffwereabletoengage,functionasateam,envisionapositiveoutcome,remembertheirconnections,andtakerisksthatleadtoinnovativesolutionsandsustainablerelationships.

ASK YOURSELF • Ifyouweretoengageyourstaffinartmaking,whatdifferentintelligencescouldyoutapinto?Howcouldthisbyproductofartchangeperceptionsinyourcommunityandcreatenewunderstanding?

• Whatarecommoncomplaintsyourstaffoftenfieldfromthepublic?Howmightartsorculture-basedstrategiescreateamoreneutralorfriendlyplatformforaddressingthoseissues?

• Wherearethecommunicationpainpointswithinyourstaff?

• Wherecouldyouleverageresourcesandobligationstoengagementorfacilitationtosupportworkingwithanartist?

TAKE A TOURTolearnmore,visitArtatWork.

“ In choosing the three departments to begin working with, Marty chose the most misunderstood and most stressed departments in the municipal system — police, public services, and health and human services. Art At Work has already made real transformations for our employees and the communities. Should we already have had respect for each other? Yes. But is municipal government set up to give that respect a chance to be made visible? Rarely. For city councilors, with increasing pressures regarding services, layoffs, and budget cuts, the challenge is to get the arts to be as central, as core to our community, as a police cruiser or a water fountain.”

Patricia Finnigan Former Assistant City Manager Portland, Maine


CASE STUDY 4

RECREATING PERMITTING POLICY WITH THE COMMUNITYAntiquatedsystemsoftendisproportionatelyimpactandleavebehindourmostvulnerablepopulations.


T hecityofBrownsville,Texas,islocatedalongtheborderofMexicoandtheUnitedStates.Thelow-income,tight-knitneighborhoodofBuena

Vida(“GoodLife”)hasarichcultureofsmallbusinessesoperatinginaninformaleconomy.Familiesoftenmakealivingthroughunpermittedsmalloperations,likesellingtraditionalfoodsorfarmproduceoutofhomesandvehicles,manyofwhichwereillegalundermunicipalcode.

Thecityworkedwithasociallyengagedlocalartcollective,LasImaginistas(“TheImaginists”),toexplorehowchangingthepermittingprocesstoallowformicroeconomiescouldbetterservetheneedsoflow-incomeresidents.IntheprojectTallerdePermiso(“PermitWorkshop”or“WorkshopofPermission”),theyusedartasthetooltocollaborativelyimaginesustainableeconomicopportunitiesinawaythatcelebratedandexemplifiedtheexistingassetswithinthecommunity,decodedmunicipalpermitting,andincubatedemergingsmalllocalbusinesses.

NEW APPROACHES TO FAMILIAR PROBLEMS PHASE 1: PERMISSION TO DREAMTheprojectbeganwitha“DreamParade,”whereresidentsofBuenaVidaheldamarch,carryingsignsdepictingtheirdreamsofanequitable,sustainableeconomyfortheircommunity.Thedreamscollectedinspiredotherstoparticipateandbecameacommunity-buildingresource.Dreamscontinuedtobecollectedthroughre-designedLoteriacardsandtriciculos(traditionaltricyclestypicallyusedforstreetvending)wheretheyprinted“DreamingPermits”onare-purposedtortillapress.

PHASE 2: PERMISSION TO KNOWThisphasefocusedonbuildingcapacitywithinthecommunity’syouthandentrepreneurs.Youthinterviewedcommunitystakeholders,includingthecitymanagerandhealthdepartment,andresearchedcityandmediaarchivesonthepermittingprocess.Throughthisinvestigativejournalism,avendorguidewascreatedandavideoshowcasingtheirfindingsisinproduction.Additionally,anentrepreneurshipprogramwascreatedwhereacohortofneighborhoodresidentscompletedbusinesstrainingsthroughtheUniversityofTexasBusinessIncubatorandacookingclassthroughalocalfoodcenter.

PHASE 3: PERMISSION TO ACTThisphaselaunchedaco-opfellowshipprogramforvendorsinpartnershipwithalocalnonprofit,BorderWorkersUnited.Theprogramistheregion’sfirstco-opandincludestenwomenadvocatingforchangetomunicipalregulationsformicobusinesses.Acommunitymarketwascreatedwheremicrobusinessescouldselltheirwares.TheprojectcoincidedwithanotherprojecttitledHacemosLeCiudad,whichincorporateddifferentstrategiestoamplifyandbuildciviccapacitiesandnetworkswithintheBuenaVidaneighborhood.DevelopmentofapilotexpansionofpermittingforsmallmobilevendorsinBuenaVida,amobilemunicipalcodelibrary,andamobilenegotiationspaceareunderway.

COMMUNITY PROFILEBrownsville, TexasPopulation(2019):182,781

Demographics:

1. HispanicorLatino:94.0%

2. Whitealone:4.7%

3. Other:1.3%



FY2020AdoptedBudget:$153,656,244

“ This work gave community members permission to dream, act, and know. It gave us permission to innovate, engage, and be more inclusive.”

Noel Bernal City Manager Brownsville, Texas


LEADING CHARACTERSFromlefttoright:ChristinaPatiñoHoule,NansiGuevara,and CelesteDeLuna.

• Artist-activistsandfoundersofLasImaginistas.

• Securedexternalfundingforproject.

• Designedandmanagedprojectincollaborationwiththecommunity andthecity.

• Connectedthecitytothelivedexperienceandneedsofaneglected andmisunderstoodpopulation.


• Build on local context, assets, and aspirations:Fearsofdeportation,languagebarriers,historicdisinvestment,andsystemsthatpenalizedtheirwayoflifehadcreatedasignificantdisconnectbetweenthecityandBuenaVidacommunity.TheLasImaginistasartistsbridgedthedividebyintegratingtheengagementprocesswithinexistingBuenaVidacommunityspacesandsuchtraditionsasstreetmarchesandeloteros.

Noel Bernal Brownsville City Manager• Relayedvalueandgarneredprojectsupportfromcitycouncil.

• Dedicatedtimetointerviews.• Ensuredstaffsupportandengagement.

Ramiro Gonzalez Brownsville Director of Government and Community Affairs• Engagedstaffinparticipatingintheproject.

• Helpedsecurematchingfundsforgrants.

Rick Vasquez Brownsville Planning and Redevelopment Director • Coordinatedcross-departmentalstaffinvolvementinrevisingpermittingprocesses.

• Ledcoderewriteandadoptionofproposedrevisions.


• Community-Defined Problems:Insteadofcreatingconveningsthatreinforcenormalpowerhierarchies(acrossjob,race,income,education,orposition),LasImaginistasworkedtodisruptthosesystemsbymakingworldsinwhichallparticipantsandtheexperience,knowledge,andreflectionstheycontributed,hadequalvalueandpotentialtoimpactthedirectionandvisionfortheproject.

PREPARING TO PARTNER• Openness to Change:Thecitywasunawareoftheissuesfacingthiscommunityandtookaleapoffaithtotrusttheartist’sprocesswithoutfullyrealizinghowitcouldleadtoworthwhileoutcomesforthecommunity.Forthecity,therewasnoidealoutcomewhentheybeganworkingwithLasImaginistas,onlyadesiretoexploreresidents’needsinadifferentwaytoincreasetheirunderstanding.Thecitycontinuestoactivelydevelopandgrowtheirabilitytobeopenastheyworkwithcommunitypartnersinnewways.

• Different Ways of Working:Thecityhadrecentlyreviseditsorganizationalvisionandfoundstaffwantedtobeinnovative,equitable,andinclusive.TheyrecognizedthatLasImaginistas’workembodiedthosevaluesandwasanexampleofwhotheyhopedtobecome.TheycontinuetopartnerwithLasImaginistastointernallydeveloptheirskillsandlearnhowtoacceleratethisworkbyapplyingthesestrategiesinotherareasofmunicipalmanagement.

STRUCTURING AND SUSTAINING• Sustaining:Tomaintainthisconnectiontothecommunity,amobile“negotiationspace”isindevelopmentwhereresidentscanspeaktoacityofficialaboutchangestothepermittingsystem,howitimpactedthem,andhowtheycouldinformfuturedecisions.Thespaceisplannedtoexpandtheseconversationstodifferenttopicsandcreateanongoingopportunityforengagement.


• Improving the permitting process for the entire community. Thecitywasalreadyprioritizingthereviewofitspermittingprocess,buthadfailedtoconsiderperspectivesoutsidedevelopmentandbusinessstakeholders.Throughthisproject,theyharnessedthecommunity’scollectiveknowledgeandhavebeguntomakesignificantimprovementsthatalignedwiththeentirecommunity’sneeds.

• Co-creating engagement strategies with the community.Bypartneringwithartists,thecitywasabletobuildconcretecivicengagementskills,increaseitscapacityforresearch,andpilotstrategiestoincreaseaccessibilityandtransparency.ThisbeganwiththetranslationofgovernmentdocumentstoSpanishandnextstepsplantoexpandbeyondsurface-levelaccesstoinvitecommunitymemberstoinfluencepolicydecisionsthatimpactedthemdirectly.

“ Brownsville, being a border city, there are a lot of immigrants in the region, and microeconomies are incredibly important for their economic well-being—but also for sustaining the cultural legacies that they bring with them from all different parts of the world. So, we thought that by looking at permitting and small business development for microeconomies, we would be able to find a really rich intersection: how art can support community development and quality of life in the region.”

Christina Patiño Houle Co-Founder and Co-Director Las Imaginistas


• Developing the economy in one of their poorest areas. BuenaVidaresidentsandtheBrownsvillecommunitysawthevalueintheirartisanalinformaleconomictraditionsandutilizedthemasapathwaytoimagineandconstructmoreeconomicopportunitiesforthecommunitythatalignedwiththeirpassion,talent,andingenuity.Theprojectempoweredresidentstodreamthroughtheirownexistingtalentsandthecityrecognizeditsresponsibilityandroleinfosteringopportunityforallresidents.

LONG TERM• Promoting mutual respect between the community and government. Residentsfeltthatthecityhistoricallyactedasaroadblocktopursuingtheirentrepreneurialdreams.Afterthisprojectthecitybecamemoreawareofhowtoconsider,respond,andsupporttheirneedsandbetterunderstoodtheirmostvulnerableandhistoricallymarginalizedpopulation.Thisworkdeepenedrelationshipsandencouragedresidentstoactivelyparticipatewithlocalcommunitypartnersandintheirlocalgovernmentprocesses.

• Promoting economic equity for low-income residents.Throughtheuniqueengagementoftraditionallydisengagedresidents,theprojectresultedineconomicdevelopmentthatactivelycombatsinvoluntarydisplacementoflongtimeresidents.Forexample,thecreationoftheBuenaVidaOnlineMarketPlacewillbeaportalfortheco-opfellowshipparticipantsandprovidebusinessownerswhopreviouslyhadnointernetpresencealow-barrierspacetoadvertiseonlineanddrawcustomersin.Byaddressingissuesinmunicipalcodeandpracticesthatdisproportionatelynegativelyimpactedlow-incomepopulations,thecityhaspromotedlong-termpossibilitiesforeconomicequity.

ASK YOURSELF • Aretherepartsofyourcommunityyou’vehadtroubleengagingorconnectingwith?Whatmightbecontributingfactors?

• Whatdoesitlooklikewhenyour“fullcommunity”participates?Howcanyouexpandyourreachthroughnontraditionalengagementstrategies?

• Howareyoucheckingyourassumptionsaboutdifferentsegmentsofyourpopulation?Doesyourstaffreflectyourcommunity?


SIMILAR CASE STUDIESWARM COOKIES OF THE REVOLUTION DENVER, COLORADO

Makingcivicprocessesfun,engaging,andcreative.

Problem: TherearebarrierstoparticipatingintraditionalcivicengagementstrategiesinDenverandtheyfailtoreachamajorityofresidents,resultinginanuninformedanddisengagedcommunity.

Approach:WarmCookiesoftheRevolutionisa“CivicHealthClub”thatapproachescivicengagementinasmanywaysaspossiblewithonecommondenominator:fun.Theystartbyidentifyingeventsaresidentwouldalreadybeinterestedinattendingandthenlayerincivicissues.Theyhavecreatedover200uniqueprograms,hostingeventsthatencourageresidentstobecomecivicdecision-makersthroughtheuseofcraftingprojects,trivia,“askmeanything”interviews,andfashionshows.

City Investment:Thecityhassupportedtheinitiativebyincludingtheclubasaculturalpartner,whichallowstheuseofcityfacilitiesatasubsidizedrateandprovidesfundingfortheirprograms.

Outcome:Theinitiativehashadover25,000participantswhowouldotherwisebeuninterestedoruninformedoftraditionalcivicengagementopportunities.Participantdemographics:70%women,67%undertheageof45,and69%inthelow-ormiddle-incometaxbrackets.Mostimportantly,72%ofparticipantsreportedincreasedcivicengagementafterattendinganevent.

TAKE A TOURVisittheWarmCookiesoftheRevolutionwebsite.


MAKING PLANNING PROCESSES PUBLIC BOSTON, MASSACHUSETTS

Takingplanningtothestreetstoincreaseparticipationandimproveoutcomes.

Problem:PublicengagementconductedforplanningprocessesinBostonhadfallenintoarut.Attendancewasminimalandthosewhocamewerethe“regulars,”alreadywellconnectedtocitybusiness.AsthecitywasplanningavarietyoftransportationimprovementprojectsforitsUpham’sCornerneighborhood,localnonprofitsdecideditwastimetotrysomethingdifferenttosolicitfeedbackfromawiderbasisofthecommunity.

Approach: TheDesignStudioforSocialIntervention(DS4SI)partneredwithlocalartiststocreateaplanningexhibitwithinteractivepublicsignageandartstructures,aswellasforumsforpeopletosharetheirideas.Theexhibitandintegratedstreetsignageloweredbarriersforthepublictoengageinplanningprocesses,boththosealreadygoingonandonestheymightwanttocreate.

City Investment:TheUphamsCornerMainStreetorganizationshostedtheweek-longexhibitforfreeandthecity’sworkingadvisorygrouptookfindingsintoaccountwhenfinalizingplans.

Outcome:Over600communitymembersengagedintheexhibit,improvingtheneighborhood’sawarenessofplannedprojectsandgatheringfeedbacktoimprovetheplans.Adirectresultofpublicinputincludedremovingafencethatwouldhaveunnecessarilydividedtwoneighborhoodsanddecreasingthecostwhileincreasingthefrequencyofpublictransittothearea.

TAKE A TOURDS4SI’s Making Planning Processes Publicwebsite.


CASE STUDY 5

UNEXPECTED APPROACHES FOR IMPROVED OUTCOMESInnovativegovernmentorganizationshaveincludedartistsearlyintheirdecision-makingprocesstobetteralignissues,processes,andoutcomes.Anartistinresidencyprogramisthepracticeofalocalgovernmentinvitinganartisttoworkwithinitsorganizationforanextendedperiod,operatingsimilarlytoaninnovationteamordiversityofficer.


LOS ANGELES, CALIFORNIA• Population3,980,000• Placement:Department-based• Goal:Createcommunityworkshops• Duration:6or12weeks,part-time• Funding:30artistswithupto15stipendsof$6,000and15of$12,000

• Source:TheCulturalAffairs,Marketing,andDigitalResearchDepartments

LOS ANGELESInnovative strategies to address traffic fatalities.VisionZerowasaninitiativeofthemayortoendalltrafficdeathsandseriousinjuries.ThegeneralmanagersofLA’sDepartmentofTransportation(LADOT)andDepartmentofCulturalAffairspartneredtogethertofindanovelwayofapproachingthecomplexissue.LA’sgoalsfortheprograminclude:• Creativelysupportunderservedcommunities.

• Provideaplatformforlocalartists.• Promoteinnovativeideastoservicedelivery.

SAINT PAUL, MINNESOTA• Population308,000• Placement:City-wide• Goal:Maintainaportfolioofprojects• Duration:Open-ended,part-timeemployment

• Funding:$25hour,$40,000ayear.$50,000projectbudgetacrossfirsttwoyears

• Source:CityofSaintPaul,PublicArtSaintPaul,andexternalgrants

SAINT PAULRecommendation from public policy review: Theresidencywasestablishedbythecityin2005withnonprofitPublicArtSaintPaulafteracomprehensivereviewoftheirpublicartordinance.Thecitywantedtoensureartwasconsideredasanintegralpartofnearlyeverycivicdisciplinebyinsertingcreativeinfluence“upstream”through:• Planningstudies.• Capitalprojectdesign.• Assetmanagement.• Programmingofpublicplaces.

GRANITE FALLS, MINNESOTA• Population2,600• Placement:City-wide• Goal:Maintainaportfolioofprojects• Duration:6-12monthspart-timeemployment

• Funding:$3,000amonth,$25anhour,andfullyfurnishedlivingarrangements

• Source:NonprofitDepartmentofPublicTransformationandexternalgrants

GRANITE FALLSResult of nonprofit leadership: After10yearsbuildingapositiverelationshipwiththecityofGraniteFalls,localartistAshleyHansenwasabletosecurethecitycouncil’sunanimousapprovaltolaunchthesmallestartistinresidencyprograminthenation.Sheraisedexternalfundingtosupporttheinitiativeforitsinauguralyear.Keygoalsinclude:• Useart-basedstrategiestohelpwithcurrentprojectsandinitiatives.

• Enablenewapproachesforcommunityengagedpolicymaking,planning,andpractice.

• Enhancethecity’sapproachtocommunityengagement.

COMMUNITY PROFILEBelowwehighlightthreecitiesrangingfrom2,000to4,000,000inpopulationandtheiruniqueapproachtoanartistinresidencyprogram.

CREATION AND GOALSResidenciesareestablishedthroughdifferentavenuesthatinfluencetheirdesign.


THE NEW HIRESTheseprogramshaveincludedmanyartists,butoneartistandtheirpartnershipwitheachcityisfeaturedhere.

LOS ANGELESAlan Nakagawa• Discipline:Soundandinterdisciplinaryartist

• History:InauguralLAresidentartistandlifelongresidentwithahistoryofworkingwithLACounty’sMetro

• Competitiveadvantage:Greatlistener

LOS ANGELESNakagawawashiredexpresslytohelpthecityreachitsVisionZerogoaltoendalltrafficdeathsandseriousinjuries.Inamultiprongedapproach,hebeganbyinterviewingover60LADOTemployeestosharetheirstoriesinapodcastseries.Nakagawaarrangedastorytellingtrainingwheretransportationengineerspracticedhumanizingthedatatomoreeffectivelycommunicatetheimportanceoftheinitiative.Finally,heplacedhaikusofferingmessagesofpedestrianempowermentonstreetsigns.

SAINT PAULAmanda Lovelee• Discipline:Visualartist• History:LocalTwinCities-basedartistwithahistoryofstorytellingthroughdifferentvisualartisticrepresentations

• Competitiveadvantage:Community-centeredapproach

SAINT PAULLoveleepartneredwiththeplanningdepartmenttocreatethePopUpmeeting,asmallelectrictruckthatbringspublicmeetingsaroundkeyissuestoneighborhoodsacrossthecity.Focusingonreachinghistoricallyunderrepresentedresidents,participantsreceivealocallymadeicepopforrespondingtosurveys.Meetingslasted3hoursoruntilthelastof300icepopswerehandedout.Projectstaffandcouncilmembersjoinedmeetingsonsuchtopicsaslong-rangeplanning,citybudgetproposals,andcapitalprojects.

GRANITE FALLSDani Prados• Discipline:Mediastoryteller• History:MovedtoGraniteFallsforresidencywithinternationalexperienceintheater,film,andimmersiveperformances

• Competitiveadvantage:Exceptionaldocumentarianandstoryteller

GRANITE FALLSAsofthiswriting,theGraniteFallsresidencyhasrecentlybegunandhasthoughtfullyplannedthedevelopmentoffutureprojects.Thefirstthreemonthsofeachresidencywillfocusonresearchanddiscoverywheretheartistwillattendinternalandpublicmeetings,participateinridealongs,andinterviewstaffandthecommunitytodevelopabaselineunderstandingandfosterrelationshipsthroughoutthemunicipalgovernment.Whileundergoingthisresearch,theartistwillidentifypotentialprojectsbasedontheirperceptionofneedandareasofinterest.Thisapproachgivestheartistthefreedomtoorganicallydevelopprojectstoencourageoutcomesthatarebeneficialtothecommunityandfulfillingfortheartist.

NEW APPROACHES TO FAMILIAR PROBLEMSSamplesoftheprojectseachartistworkedonduringtheirtenureatthecity.


PROCESSES IN ACTIONDEFINING OPPORTUNITYCommunity-Defined Problem: Afterattendingcitycouncilmeetings,AmandaLoveleeidentifiedthetensionbetweenthecommunityandgovernmentexacerbatedbytraditionalpublicmeetingsandthebarrierstoaccessthatresultedinthesamefewpeopleattendingtosharetheirinput.Loveleeusedart-basedstrategiestocreateasafespaceforopencommunicationthatsparkedjoyintheactofpublicinput.

Guiding Principles: GraniteFallsexplicitlyincorporatescommunity-drivenandinclusiveprojectsasamajorstrategyoftheirprogramtopromoteactiveengagementincivicprocessesandconnectionasacommunity.Theyhaveincludedmethodswithintheirevaluationframeworktogaugesuccess.

PREPARING TO PARTNERAssessing Readiness: GraniteFallshadengagedwithartistsineconomicandcommunitybuildingprojects—suchasplacemakingfestivalsandcommunitytheaterproductions—forover10years,preparingthemforamoreintegratedapproachtoarts-basedsolutions.

Different Ways of Working:InbothSaintPaulandGraniteFalls,havingathirdpartyemploytheartistandactasaliaisonwiththecitywascrucial.Thecoordinatingnonprofit’sinvolvementstreamlinedprocurementprocessesformaterialsandservicesforprojectsandfundingavenueswereexpandedtoincludemoregrantandphilanthropicopportunities.

Different Ways of Working:LoveleeandPradosattendeddevelopmentmeetingsforprojectssotheirinputwasinserted“upstream”inplanningprocesses,creatingopportunitytoinfluenceprojectdesignandimplementation.Loveleesaid,“ThebiggestimpactIhadwasbeingpartoftheprocess,gettingtoaskquestionswhileplanninglargeprojectswhereanartisthadavaluedandrequiredseatatthetable.Iwasabletohelpthecitytakeintoaccountpasthistoryinaproactivewaytoavoidlargefalloutsinthefuture.”

ASSEMBLING YOUR TEAMArtist Approach:Eachartistchosenhadonethingincommon:theyallemphasizedtheimportanceoflistening.Nakagawarecalled,“AkeyingredientformysuccesswasIalwayssharedorrelinquishedtheauthorshipoftheart.Iwantedeveryonewhoparticipatedtofeellikeitwastheiridea,whetheritwasstafforthecommunity.MyMOistoaskquestions,thenassess,thenpropose,incorporatinginput.”

Internal Validation: PriortoNakagawa’sfirstday,thegeneralmanagerofLADOTsentanemailtotheentiredepartmentintroducinghimandhisrolewithinthedepartment.Uponarrival,Nakagawafeltwelcomeandvalidatedasamemberoftheteam.GraniteFallshasaprogramcoordinatorthatworkswithinthecitytoadvocate,facilitaterelationships,andhelptheartistnavigategovernmentalprocessessotheycanfocusontheirwork.

“ I need to exhaust every single tool in the toolbox and then a bunch of other tools people don’t even think belong in the toolbox.”

Seleta Reynolds General Manager Los Angeles Department of Transportation (NextCity,August11,2016)


OUTCOMESInadditiontotangibleoutputs,projectshaddeeperimpactsoncityoperationsandcommunitylife.

LOS ANGELESIgniting public interest and support in Vision Zero. In 2017, LADOT founda20%increaseincommunityknowledgeofVisionZeroandtrafficsafetyprecautionsaftertransportationengineersweretrainedtotellthestoriesofthoselostintrafficaccidents.Thissignificantlyimpactedfuturecivicengagementstrategies.Paving the way for future AIR: Nakagawa’ssuccessresultedincontinuedpartnershipsbetweenthecityandartists,resultinginexpandedprograminginsubsequentyears.

LOS ANGELESProgramDescriptionApplicationInstructionsPanelReviewProcessArtistInformationMeeting

SAINT PAULExpanding access for residents excluded from traditional public meetings. SeventypercentofsurveyresponsescollectedfromPopUpmeetingshadneverattendedapublicmeetingbefore,andrespondentsmorecloselyreflectedthecity’sdemographics.Fulfilling exchanges for staff. The PopUpmeetingformatbrokedownhierarchicalbarriersbetweenstaffandresidents,allowingthemtobetterunderstandoneanother.Aplannerwithover30yearswiththecitytoldLoveleeafterameeting,“Thankyouforhelpingmelearntolovemyjobagain.”

SAINT PAULCityWebpageTimelineofCityArtists

GRANITE FALLSChanging mindsets and behaviors. Anadvisorycommitteeconsistingofstakeholderssuchascouncilmembers,thecitymanager,andcommunitymembersoutlineddesiredoutcomestointentionallyfocusoncommunityoutcomesover“products”toincreaseGraniteFallsresidents:• Valueofartsandcultureasawaytoaddresscommunitychallengesandincreasequalityoflife.

• Feelingsofconnectionwithoneanotheracrossdifferences.

• Activityincivicprocesses,communitygatherings,andotherevents.

GRANITE FALLSProgramOverviewRequestforQualificationsArtistInformationMeeting

EXAMPLE DOCUMENTSSeesampledocumentsandoutreachfromeachorganization.


ASK YOURSELF• Aretheredepartmentsorareasofworkthatyourguttellsyoucoulduseafreshperspectiveorout-of-the-boxthinking?

• Wheremightyouhaveevenasmalldegreeofflexibilityandrisktolerancetotestoutpartneringwithanartist?

• What’sarecentprojectorprocessyouwishyoucoulddoover?Couldanewtypeofartisticpartnerhelpimproveoutcomesiffacedwithasimilarscenario?

• Whatpersistentissueisimpactingyourcommunityandareyousureyouunderstandtherootcause?

DIVE DEEPERHearfromartistsdirectlybyvisitingtheArtists-MunicipalPartnershipscollectionof10artists’perspectivesonworkingwithlocalgovernment.

TAKE A TOURVisitmoreexamplesofresidenciesviathe AllianceofArtisticCommunities.

TAKE ACTIONCreateyourownresidencywiththethisguide,developedbytheCityofPittsburghOfficeofPublicArt.

“ I wanted to see more civic engagement with residents on issues that impacted them. I was surprised by how many big decisions are made at the leadership level, and then told ‘it is how it is’ when residents finally become aware of that decision. So, my hope is that a city artist in residency will help improve that public engagement process.”

Sarina Otaibi Rural Programs Manager Rethos: Places Reimagined Former Council Member Granite Falls, Minnesota


APPENDIX1:PROJECTADVISORS*NortonBonaparte,Jr. CityManager,Sanford,Florida

AmeliaBrown FounderandConsultant,EmergencyArts

BrytaneeBrown TransportationandMobilityPlanner,Strategist,andCulturalProducer,Oakland,California

RichardBrown TownAdministrator,Somerset,Massachusetts

CarlosContreras CreativeConsultantandSoleProprietor,ImmastarProductions

NicoleCrutchfield DirectorofPlanning,Fargo,NorthDakota

SusanDuPlessis CommunityArtsDevelopmentDirector,SouthCarolinaArtsCommission

BetsyKeller CountyAdministrator,ElPasoCounty,Texas

SeanMcGlynn CityManager,SantaRosa,California

MalloryRukhsanaNezam Civic“Reimaginatrix”andArtist,Justice+Joy

SarinaOtaibi RuralProgramsManager,Rethos:PlacesReimagined, FormerCouncilMember,GraniteFalls,Minnesota

SeanStarowitz ArtistandAssistantDirectorforArtsandCulture,Bloomington,Indiana

CynthiaSteinhauser DirectorofCommunityDevelopment,Rochester,Minnesota

BenStone DirectorofArtsandCulture,SmartGrowthAmerica

*TitlesandaffiliationslistedaboveareasofDecember2020.


APPENDIX2:SUMMARYOFINTERVIEWS*

HilaryBass CrimePreventionSenior.ProgramSpecialist,AlamedaCountySheriff’sOffice

NoelBernal CityManager,Brownsville,Texas

DanBorelli ArtistandDirectorofExhibitions,HarvardUniversitySchoolofDesign

NicoleCrutchfield DirectorofPlanning,Fargo,NorthDakata

HannahDrake PoetandSpokenWordArtist,IDEASxLab

AdamFrelin ArtistandAssociateProfessor,SUNYUniversityatAlbany

AshleyHanson FounderandDirector,DepartmentofPublicTransformation

MichaelHerbert TownManager,Ashland,Massachusetts

ChristinaPatiñoHoule Co-FounderandCo-Director,LasImaginistas

LoriLobenstine ProgramDesignLead,DesignStudioforSocialIntervention

AmandaLovelee ArtistandParkAmbassador,MetropolitanCouncil

EveMosher ArtistandFounder,HighWaterLine

AlanNakagawa SoundandDisciplinaryArtist

MartyPottenger TheaterArtistandFoundingDirector,ArtAtWork

MichaelSauschuck Commissioner,MaineDepartmentofPublicSafety

EvanWeissman FoundingExecutiveDirector,WarmCookiesoftheRevolution

*Titlesandaffiliationslistedabovearefromthetimeofinterview;severalintervieweeshavetakenonnewpositionswithintheirorganizationsorelsewhere.


Page2: CourtesyoftheIndigenousDesignandPlanningInstitute

Page6: AmuProduction,courtesyofTheFargoProject

Page7: CourtesyoftheIndigenousDesignandPlanningInstitute

Page8: WeDesign,courtesyofTheFargoProject

Page9: CourtesyoftheTownofAshland,Massachusetts

Page12:Hyers+Mebane,courtesyofBreathingLights

Page14:JustinKnightPhotography,courtesyofDanBorelli

Page16:(upper)CourtesyoftheCityofAlbany,NewYork;(lower)AmuProduction,courtesyofTheFargoProject

Page18:(upper)CourtesyoftheCityofBrownsville,Texas;(lower)courtesyofArtatWork

Page20:(clockwisefromtopleft)CourtesyofArtatWork;VerónicaG.Cárdenas,courtesyofLasImaginistas;courtesyofRichardBrown

Page22:MikeConti,courtesyofCookInletHousingAuthority

Page24:JohnBerg,courtesyoftheDesignStudioforSocialIntervention

Page25:CourtesyofPlaceBaseProductions

Page27:PeterHaakonThompson,courtesyofSpringboardfortheArts/Irrigate

Page28:CourtesyofBenStone

Page29:CourtesyoftheDepartmentofPublicTransformation

Page30:CourtesyoftheU.S.WaterAlliance

Page31:(upper)CourtesyofSeanMcGlynn;(lower)courtesyofAmeliaBrown

Page36:CourtesyoftheIndigenousDesignandPlanningInstitute

Page38:RachelSummers,courtesyofSpringboardfortheArts/Irrigate

Page43:CourtesyofSarinaOtaibi

Page44:CourtesyofCarlosContreras

Page54:CourtesyofSusanDuPlessis

Page56:(upper)CourtesyoftheTownofAshland,Massachusetts;(lower)courtesyoftheAlamedaCountySheriff’sOffice


Page60:CourtesyofSeanStarowitz


Page63:CourtesyofDanBorelli

Page64:JustinKnightPhotography,courtesyofDanBorelli

Page65:(clockwisefromtopleft)CourtesyofDanBorelli,(nexttwo)courtesyoftheTownofAshland,Massachusetts;courtesyoftheMassachusettsLaborer;ArtIllman,courtesyofDailyNewsandWickedLocal.

Page66:(upper)CourtesyofDanBorelli;(lower)courtesyoftheTownofAshland,Massachusetts

Page67:CourtesyofDanBorelli

Page68:CourtesyofEveMosherandJaniceBooher


Page70:AmuProduction,courtesyofTheFargoProject

Page71:(upper)MaeginElshaug,courtesyoftheFargoProject;(lower)NicoleCrutchfield,courtesyofTheFargoProject

Page72:(lefttoright)CourtesyofTheFargoProject;courtesyofNicoleCrutchfield;courtesyofCaliAncha;courtesyofRachelAsleson

Page73:CourtesyofNicoleCrutchfield

Page74:JoshMiller,courtesyofIDEASxLab

Page76:CourtesyoftheAlamedaCountySheriff’sOffice

Page77:CourtesyoftheAlamedaCountySheriff’sOffice

Page78:CourtesyofArtatWork

Page79:(lefttoright)CourtesyofArtatWork;courtesyofMichaelSauschuck;courtesyofArtatWork

Page80:(all)CourtesyofArtatWork

Page81:(upper)CourtesyofMichaelSauschuck;(lower)courtesyofArtatWork

Page83:CourtesyoftheTownofOgunquit,Maine

Page84:VerónicaG.Cárdenas,courtesyofLasImaginistas

Page86:(upper)CourtesyofLasImaginistas;(lower,all)courtesyoftheCityofBrownsville,Texas

Page87:CourtesyofLasImaginistas

Page88:CourtesyofLasImaginistas

Page89:FromTheHipPhoto,courtesyofWarmCookiesoftheRevolution

Page90:JohnBerg,courtesyoftheDesignStudioforSocialIntervention

Page91:AmandaLovelee

Page93:(clockwisefromtopleft)CourtesyofAlanNakagawa;DavidBowman,courtesyofAmandaLovelee;courtesyoftheDepartmentofPublicTransformation;TiffanyBolk,courtesyofAmandaLovelee;courtesyofAlanNakagawa

Page94:CourtesyoftheCityofLosAngeles,California

Page95:TiffanyBolk,courtesyofAmandaLovelee

Page96:CourtesyofSarinaOtaibi

PHOTO CREDITS


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