Public Perception of the Arts

[muddledwaters]

Gentrification and the Artistic Dividend

            This article focuses on the subject of neighborhood gentrification and its relationship to the presence of the arts in a community. A summary of current popular opinion and past research prefaces analysis and conclusions based on a 2010 US Census. Research was based on zip codes with certain populations, and focused on measuring 10 variables of growth: Employment, Household income, Above Poverty, Not receiving public assistance, Bachelor’s degree or higher, White, Manger, Housing value, new homeowners, and Density. Data analysis set Commercial Arts and Fine Arts as fixed variables as a means to recognize industry trends.

            Historically, the debate on gentrification has taken two sides. One side sees gentrification as a vehicle for positive change in disadvantaged neighborhoods. However, the second, and more common perspective is a critique of gentrification as a means of displacement and outmigration of long-time residents (Cameron & Coaffee, 2005; Catungal et al., 2009; Grodach, 2012, 2013).

            The arts parallel and differ from these common viewpoints in numerous ways. Past research as shown that the commercial arts have served as direct instruments of urban planning, as catalysts for development, seen as a significant element in gentrification. Research has also shown the influence of museums and performing arts institutions in attracting property development (Birch, et al.), as well as inflating real estate values (Florida 2002.)

            Despite these contextualized instances, recent studies have indicated that neighborhoods with high levels of arts activities (especially in the fine arts) are more likely to be drivers of revitalization than gentrification. Revitalization, as opposed to gentrification, was indicated by factors such as declining poverty rates and employment growth. The artistic dividend (Markusen & Strock, 2006) was identified as a new type of quantifiable economic gain. This value is specific to artists and artist groups who support neighboring businesses in an effort to encourage and attract new visitors. These new conceptual frameworks of the arts are drivers of revitalization instead of gentrification. They are useful to city planners, arts organizations, and the communities themselves.

            This article belongs to Trend #1 (Environmental Scanning and Analysis of Arts in the Community) because it identifies misconceptions on the arts, and provides research to substantiate a much more valuable identity in a community context

Citation:

Grodach, C., Foster, N., & Murdoch, III, J. (2014). Gentrification and the artistic dividend. Journal of the American Planning Association, 80(1), 21-35. doi:10.1080/01944363.2014.928584

[muddledwaters]

Exploring Cultural Inclusion: Perspectives from a Community Arts Organizations

            This article investigated the growing importance of fostering an inclusive organization within the increasingly diverse communities of Australia. The country faces major ethical challenges as a result of a growing minority and immigrant population. The article focuses on a leading arts organization, Multicultural Arts Victoria (MAV), in an effort to understand the importance of both an organization’s external cultural inclusion efforts, and internal organizational inclusion efforts. Drawing on Sandell’s theory on cultural inclusion (1998), and Mor Barak’s (2000) inclusive workplace model, the theoretical perspectives are coupled with a brief history of the Australian arts community, and an analysis of the MAV case study. The research utilized 6 focus groups, totaling interviews of 43 participants (artists, audiences, refugees and staff), as well as individual stories from secondary sources. The study presents not only new theoretical contributions, but also practical implications for organizations.

            MAVs cultural inclusion was measured using Sandell’s principals of participation, access and representation. In addition, the data showed the presence of new elements of inclusion, including (1) customized engagement; (2) reciprocal empowerment; and (3) self-development. As a result, MAV is able to bridge difference within its workforce and assist in minority assimilation, by means of internal evaluation and external partnerships (seen most prominently through their programming, mentoring). This is in part due to its approach as acting as embedded in a larger system rather than working in isolation as a separate part in society

            This article belongs in Trend #1 (Environmental Scanning and Analysis of Arts in the Community) because it provided a theoretical structure for evaluating an organization’s identity in a community.

Citation:

Azmat, F., Fujimoto, Y., & Rentschler, R. (2014). Exploring cultural inclusion: Perspectives from a community arts organization. Australian Journal of Management, 1-22. doi:10.1177/0312896214525180

Photo Credit:

AMES and Multicultural Arts Victoria Award Recipient, 2011

Ma Late (Burma), Three Countries, Paper collage, Ink Print, 122 x 90cm

"My work is about Karen life in Burma, in Thailand and in Australia, and my hopes and dreams for these countries and for my people. I have surrounded these three countries with hope and love."

[muddledwaters]

Azmat, F., Fujimoto, Y., & Rentschler, R. (2014). Exploring cultural inclusion: Perspectives from a community arts organization. Australian Journal of Management, 1-22. doi:10.1177/0312896214525180

            This article investigated the growing importance of fostering an inclusive organization within the increasingly diverse communities of Australia. The country faces major ethical challenges as a result of a growing minority and immigrant population. The article focuses on a leading arts organization, Multicultural Arts Victoria (MAV), in an effort to understand the importance of both an organization’s external cultural inclusion efforts, and internal organizational inclusion efforts. Drawing on Sandell’s theory on cultural inclusion (1998), and Mor Barak’s (2000) inclusive workplace model[HJ1] , the theoretical perspectives are coupled with a brief history of the Australian arts community, and an analysis of the MAV case study. The research utilized 6 focus groups, totaling interviews of 43 participants (artists, audiences, refugees and staff), as well as individual stories from secondary sources. The study presents not only new theoretical contributions, but also practical implications for organizations.

            MAVs cultural inclusion was measured using Sandell’s principals of participation, access and representation. In addition, the data showed the presence of new elements of inclusion, including (1) customized engagement; (2) reciprocal empowerment; and (3) self-development. As a result, MAV is able to bridge difference within its workforce and assist in minority assimilation, by means of internal evaluation and external partnerships (seen most prominently through their programming, mentoring). This is in part due to its approach as acting as embedded in a larger system rather than working in isolation as a separate part in society[HJ2] .

            This article belongs in Trend #1 (Environmental Scanning and Analysis of Arts in the Community) because it provided a theoretical structure for evaluating an organization’s identity in a community.