communities and culture: lessons for practitioners from our research
DESCRIPTION
Communities and Culture: Lessons for Practitioners from Our Research. Social Impact of the Arts Project. SIAP. Mark J. Stern University of Pennsylvania December 2003. Introduction to the Social Impact of the Arts Project Culture and the New Urban Reality How we do our work - PowerPoint PPT PresentationTRANSCRIPT
Communities and Culture:Lessons for Practitioners from Our Research
Mark J. Stern
University of Pennsylvania
December 2003
SIAPSocial Impact of the Arts Project
• Introduction to the Social Impact of the Arts Project
• Culture and the New Urban Reality• How we do our work
• Uses of our work• Making your case to non-arts audiences• The organization/community dilemma• Scanning your community
• Addressing the ‘Culture and Community Development’ paradigm
Beyond the “urban crisis”: a new mix of vitality and stagnation
Housing market
Regional choice
High value
Steady
Transitional
Distressed
Reclamation
Between 1990 and 2000, Philadelphia lost about more than 4 percent of its population and poverty rose from 20 to 23 percent. This is why the City’s Neighborhood Transformation Initiative found that 60 percent of Philadelphians live in a neighborhood that is either “distressed” or in need of “reclamation.”
Signs of vitality: Diversity, youth, and immigrants
Change in ethnic composition, 1990-2000
Stable African American
Stable White
Stable Latino
Stable diverse
Became diverse
Other
At the same time, Philadelphia’s neighborhoods have become more ethnically and economic diverse. The idea of the urban crisis was connected to “city trenches”—a view of city life as composed of ethnically and economically homogeneous neighborhoods.
The proportion of the population living in neighborhoods that were either ethnically or economically diverse increased from 26 to 40 percent and the proportion living in areas that were “doubly diverse” increased from 6 to 8 percent.
Diversity status 1990-2000
Stable ec and eth diverse
Became ec and eth diverse
Stable ec diverse
Stable eth diverse
Became ec or eth diverse
Not diverse
Changes in family formation and work patterns have increased the number of ‘youth districts’ in major American cities
Staten Island
Brooklyn
Queens
Manhattan
Bronx
Percent 18-34 years old 0 to 30% 30 to 35% 35 to 40% 40 to 100%
Staten Island
Brooklyn
Queens
Manhattan
Bronx
Percent 18-34 years old 0 to 30% 30 to 35% 35 to 40% 40 to 100%
1970 2000
The foreign-born population of American cities increased rapidly during the decade, accounting for a large share of the increase in population.
Population change 1990-2000
Metropolitan areaForeign born
Native born Total
Percent foreign born
Los Angeles 554,589 102,241 656,830 84.4New York 853,632 -86,348 767,284 111.3Chicago 540,896 321,014 861,910 62.8Philadelphia 104,910 73,762 178,672 58.7Washington DC 342,356 357,644 700,000 48.9Detroit 100,627 74,270 174,897 57.5Houston 414,342 441,151 855,493 48.4Atlanta 306,483 845,763 1,152,246 26.6Dallas 356,645 486,288 842,933 42.3Boston 143,658 35,483 179,141 80.2Phoenix 295,653 717,743 1,013,396 29.2Minneapolis 122,254 307,721 429,975 28.4San Diego 177,450 138,371 315,821 56.2St. Louis 32,010 79,068 111,078 28.8Baltimore 58,469 112,017 170,486 34.3Seattle 162,136 219,909 382,045 42.4Oakland 235,704 73,939 309,643 76.1Miami 273,196 43,072 316,268 86.4Cleveland 14,620 34,262 48,882 29.9Denver 151,765 334,537 486,302 31.2Newark 119,344 -2,084 117,260 101.8Portland 120,004 282,556 402,560 29.8San Francisco 113,530 13,975 127,505 89.0Fort Worth 109,598 231,991 341,589 32.1San Jose 225,927 -40,918 185,009 122.1
SIAP has developed a database that allows us to systematically examine the connection of cultural indicators to other measures of neighborhood well-being
Census block groups
Counts of cultural providers, other social organizations (1997 and 2002)
1980-2000 census data
Changes in property values
Crime data (coming in 2004)
Estimates of regional cultural participation (1997, coming in 2004)
Counts of for-profit cultural firms (1997 and 2002)
Child welfare benchmarks
MAKING YOUR CASE: IMPACTSThe cultural sector is not confined to a few well-known Center City organizations. It runs the gamut from professional performing companies to community choirs, from artists’ collectives to non-arts organizations that integrate culture into their programs. This diversity is one of the sector’s great strengths.
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Type of institution! Performing group# Facility" Community, participatory$ Media% Resource organization! Library" Non-arts organization # Historic site$ Educational
Impacts—Diverse neighborhoods and those with high cultural participation had the highest population growth during the 1990s.
Remained or became ethnically diverse
DiverseNot diverse
Po
pu
latio
n c
ha
ng
e,
19
90
-20
00
40
20
0
-20
-40
-60
-80
-100
-120
Cult participation
Lowest quartile
25th-49th percentile
50 -74th percentile
Highest quartile
Impacts—Among poor neighborhoods, those with high cultural participation were more likely to have very low delinquency and truancy rates.
Regional cultural participation rate
Highest 25%50-74%25-49%Lowest 25%
Pe
rce
nt
of
blo
ck g
rou
ps
30
20
10
0
Very low truancy
Very low delinquency
Impacts—Neighborhoods with many cultural organizations had higher than average increases in property values (median sale price) between 1995 and 2000. Residents of poor neighborhoods were as likely to benefit from this
connection as those in well-off parts of the city.
Cultural providers as percent of all institutions
Highest quartile
50 -74th percentile
25th-49th percentile
Lowest quartile
Ch
an
ge
in
pro
pe
rty v
alu
es,
19
95
-20
00
.8
.6
.4
.2
-.0
-.2
-.4
-.6
Per capita income
Lowest quartile
25th-49th percentile
50 -74th percentile
Highest quartile
Cases weighted by POP00
Cultural providers with 1/2 mi 1997 (quartiles)
Highest quartile50th -74th %25th-49th %Lowest quartile
Pe
rce
nt
revita
lize
d
18
16
14
12
10
8
6
4
2
0
Even among the most at-risk neighborhoods, a significant number experienced population increases and poverty declines during the 1990s. Using the City’s definitions, the odds that a “distressed” or “reclamation” neighborhood would experience revitalization were strongly related to the presence of cultural institutions.
Percent of block groups that experienced a decline in poverty and an increase in population, 1990-2000, “reclamation” and “distressed” block groups
The organization-community dilemma
• In ‘consultants’ world’—building your organization and building your community go hand-in-hand
• In the real world of scarce resources, community cultural providers often must insulate themselves from their community if they are going to build a more ‘rational’ organization
An assets-based view:community cultural providers act more like ‘social movements’ than formal
organizations
• Driven by an ‘irrational’ commitment to mission• Linked to a community’s search for identity• Opportunistic and nimble• Ability to scan their environment • Resilient in the face of inevitable crises
Connecting to your entire communityCommunity cultural providers rely on networks of relationships to accomplish their work. These relationships form the community cultural ecosystem that includes a variety of “agents.” Thus, as small cultural providers do their work, they weave together disparate parts of their neighborhoods and the region.
Regional cultural providers Regional
audience for community arts
Artists
Other neighborhoods
Funders & Resource Networks
Nonprofit community cultural providers
For profit community cultural firms
Non-arts community based organizations
“Informal” cultural providers
Cultural participants
Cultural engagement builds two types of enduring relationships. Inside neighborhoods, cultural participants are likely to engage in other types of civic activities. Cross-participation is critical to the enhancement of community civic capacity. Pe
rcen
t of a
ll res
pond
ents
60
50
40
30
20
10
0
Source: SIAP community participation surveys, 1999
Outside the neighborhood, culture builds links across divides of ethnicity and social class. One of the Philadelphia’s hidden assets is the regional audience for community arts. Eighty percent of participants in community arts programs come from outside the neighborhood in which
the program is located.
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#
Poplar
Strawberry Mansion
Cedar Park
Kingessing
Elmwood
Overbrook
Cobbs Creek
Haddington West Park
Point Breeze
Girard Estates
Grays Ferry
South Philly
Wharton
University City
Belmont/Mantua
Powelton
Center City West
Schuylkill
Fairmount
East Falls
Manayunk
Wynnefield
Wissahickon Park
RoxboroughWest Mount Airy
Chestnut Hill
Tioga/Nicetown
Brewerytown
Allegheny West
North Central
Cedarbrook
Germantown
E. Mount Airy
E. Germantown
West Oak Lane
Juniata Park
Riverfront
Fishtown
Center City East
Pennsport
Fairhill
HartranftWest Kensington
Hunting Park
Richmond
Kensington
Harrowgate Bridesburg
Frankford
Oxford CircleOgontz
OlneyLogan/Fern Rock
Summerdale
East Oak Lane
Fox Chase
Pennypack
Tacony
Pennypacker Park
Rhawnhurst
HolmesburgMayfair
Miles
3210
Dots represent participants in Fleisher Art Memorial’s programs during 2000.
Artists maintain relationships with many different nonprofit and for-profit cultural providers in Philadelphia’s neighborhoods, yet these connections are often overlooked by the organizations that employ artists
Red dots=65 artists, other dots=cultural providers they worked with during 1999-2000Source: SIAP community artists’ survey, 1999-2000.
The networked cultural enterprise
Building strong relationships with other community organizations is a key strategy for both connecting with one’s community, identifying opportunities, and building organizational resilience.
Note: red dots=CBC grantees, other dots neighborhood groups with which they have a relationship
Source: SIAP institutional network database, 1997-2000
Addressing the Community and Cultural
Development paradigm • Demographic and economic shifts in the
community/neighborhood over the past ten years that have generated tension points.– Paying attention to changing social and economic
conditions is important, but these shifts provide opportunities as well as challenges
– In particular, the expansion of diversity, the emergence of youth districts, and the increased immigrant population provide new opportunities for community cultural providers
• Creative and non-threatening community arts organizations have the ability to bridge the divides that have grown over the years by addressing the tension points.
– We know that diversity and culture reinforce one another, but we don’t fully understand how that works.
– Some cultural organizations in diverse neighborhoods work to bridge social gaps, but others focus on self-assertion within one group.
• Develop program/s that address these tension points and that promote social integration amongst a diverse population, offer upward mobility to the most marginalized citizens and that simulate those taking part to improve the community after they have left the program– We need to differentiate two distinct ways that residents get involved in
communities• Instrumental engagement—to accomplish a particular goal, e.g. new
housing, economic development• Expressive engagement—to feel connected and creative
– The core of cultural engagement is based on expressive engagement. The arts can create the environment that makes concerted action possible.
For more information:http://www.ssw.upenn.edu/SIAP
SIAPSocial Impact of the Arts ProjectSchool of Social WorkUniversity of Pennsylvania