PROBLEM SOLVING THROUGH ARTS AND CULTURAL ... Solving...political unrest, art brings us together in powerful ways. From residents singing on their balconies in solidarity for From

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

3PROBLEM SOLVING THROUGH ARTS AND CULTURAL STRATEGIES

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.

http://noahmacmillan.co/


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.Andlocalartsandculturalinstitutionsareoftencelebratedascommunitytreasures.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.

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 HerbertTown 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 Markusen,AnnandGadwa,A.(2010).CreativePlacemaking.NationalEndowmentfortheArts. https://www.arts.gov/sites/default/files/CreativePlacemaking-Paper.pdf

2 Turner,Carlton.(2017).“EquityinPractice:StrategiesfromAlternateROOTS’HistoryofCreativePlacemaking,”inHow to Do Creative Placemaking,NationalEndowmentfortheArts.

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

https://www.arts.gov/sites/default/files/CreativePlacemaking-Paper.pdfhttps://www.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 Thecommunitydesiresthechangeenvisionedandcommunityexperiencedrivestheprocess.2 Thepartnershipaimstoexpandopportunitiesandaddressbarrierssothatmembersofthecommunitycanexpressideasandexperiencebenefits.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 Thepartnershipintentionallyconsiderstheselectionoflocalvs.non-localpartners.8. Theworkincludespartnershipsacrossdisciplinesandsectors.9. Theworkrecognizes,highlights,andcontributestothenarrativeofaplace.10. Evaluationoftheworkconsidersbothprocessandoutcomes,qualitativeandquantitativeindicatorsofsuccess,andpublicandartistperspectives.

4 See“HowDoWeKnowIt’sCreativePlacemaking?Let’sTalkAboutOurSharedValues,”formoreontheseresearchandoutreachefforts: https://www.artplaceamerica.org/blog/lets-talk-about-our-shared-values

https://www.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.https://knightfoundation.org/sotc

6 CommunityTies:UnderstandingWhatAttachesPeopletothePlaceWhereTheyLive.https://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

MayorAlbany, New York

https://knightfoundation.org/sotchttps://knightfoundation.org/reports/community-ties-understanding-what-attaches-people-to-the-place-where-they-live/https://knightfoundation.org/reports/community-ties-understanding-what-attaches-people-to-the-place-where-they-live/


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 PottengerFounder/DirectorArt 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.

https://static1.squarespace.com/static/53c7166ee4b0e7db2be69480/t/5682bcdec647ad3ec0b6c80a/1451408606948/CaseStudy_CreativePlacemaking_UphamsCorner.pdf


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.

https://myparkmypoolmycity.org/


• 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 Woronkowicz,J.&Schert,J.M.(2020).ArtistsinLocalGovernment:LocalGovernmentArtist-in-ResidenceProgramsMustIncludeOpportunitiesforPublicSectorInnovation.Stanford Social Innovation Review. https://ssir.org/articles/entry/local_government_artist_in_residence_programs_must_include_opportunities_for_public_sector_innovation

https://ssir.org/articles/entry/local_government_artist_in_residence_programs_must_include_opportunities_for_public_sector_innovationhttps://ssir.org/articles/entry/local_government_artist_in_residence_programs_must_include_opportunities_for_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 Hutter,Victor.PlayingCopsandRobbers.NationalEndowmentfortheArts:NEAArtsMagazine. https://www.arts.gov/NEARTS/2016v3-pursuit-creative-life/playing-cops-and-robbers

9 Hamby,Elizabeth.(2018).EquityandUrbanPlanning.ArtPlaceAmerica. https://www.artplaceamerica.org/blog/equity-and-urban-planning

https://www.arts.gov/stories/magazine/2016/3/pursuit-creative-life/playing-cops-and-robbershttps://www.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 theneighborhoods that before, they never would have evenconsidered. And, so, the effect of this is happening today, and Ibelieve it’ll carry on five years and ten years into the future. It isreally a transformational engagement that gets people to rethinkabout 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 Breathing Lightsdocumentary

“ 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

https://breathinglights.com/


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 Arts, Culture and Transportation: A Creative Placemaking Field Scan

“ 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 HansenFounder and Director Department of Public Transformation

https://breathinglights.com/https://projectrowhouses.org/https://www.artplaceamerica.org/view/pdf?f=public://pictures/artplace_field_scan_housing_sherman_apr_2016.pdfhttps://www.artplaceamerica.org/view/pdf?f=public://pictures/artplace_field_scan_housing_sherman_apr_2016.pdfhttps://t4america.org/wp-content/uploads/2017/09/Arts-Culture-Field-Scan.pdf


• 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.

12 Advancing One Water Through Arts and Culture: A Blueprint for Action

https://t4america.org/wp-content/uploads/2017/09/Arts-Culture-Field-Scan.pdfhttps://t4america.org/wp-content/uploads/2017/09/Arts-Culture-Field-Scan.pdfhttp://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 Brown,Amelia.“Art:CreatingPossibilitiesinEmergencies.”Public Management,1Oct.2020,pp.48.

“ 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

http://uswateralliance.org/sites/uswateralliance.org/files/publications/uswa_artsculture_FINAL_PAGES_RGB_0.PDFhttp://uswateralliance.org/sites/uswateralliance.org/files/publications/uswa_artsculture_FINAL_PAGES_RGB_0.PDFhttps://www.pressdemocrat.com/article/news/last-october-documentary-captures-experience-of-santa-rosa-city-workers-i/


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,”

14 Brown,Amelia.“Art:CreatingPossibilitiesinEmergencies.”Public Management,1Oct.2020,pp.48.

https://emergencyarts.net/https://srcity.org/3167/October-2017-Wildfires


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

https://public-city.org/drawing-lineshttps://www.warmcookiesoftherevolution.org/http://www.thismachinehasasoul.com/https://heliconcollab.net/wp-content/uploads/2018/04/Farther-Faster-Together-1.pdfhttps://heliconcollab.net/wp-content/uploads/2018/04/Farther-Faster-Together-1.pdfhttps://www.policylink.org/resources-tools/arts-culture-equitable-developmenthttps://www.daisaenterprises.com/uploads/4/4/0/5/44054359/artplace_field_scan_food_ag__final_may2019.pdfhttps://www.daisaenterprises.com/uploads/4/4/0/5/44054359/artplace_field_scan_food_ag__final_may2019.pdfhttps://www.welcomingamerica.org/sites/default/files/artplacefieldscan-artsandculturestrategiesforimmigration_final_10_05_20_singlepages.pdfhttps://www.welcomingamerica.org/sites/default/files/artplacefieldscan-artsandculturestrategiesforimmigration_final_10_05_20_singlepages.pdf


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.

https://www.tpl.org/sites/default/files/files_upload/FINAL_FieldGuide_Layout_sm_0.pdfhttps://www.tpl.org/sites/default/files/The%20Toolkit%20for%20HAP-E.pdfhttps://www.planning.org/knowledgebase/creativeplacemaking/https://www.urban.org/sites/default/files/publication/79271/2000725-Examining-the-Ways-Arts-and-Culture-Intersect-with-Public-Safety.pdfhttp://www.ruralhome.org/sct-information/rural-voices/1493-rvsummer2017http://www.ruralhome.org/sct-information/rural-voices/1493-rvsummer2017http://www.ruralhome.org/storage/documents/publications/rrreports/rrr-native-placemaking.pdfhttps://www.communityprogress.net/download-creative-placemaking-on-vacant-properties-pages-545.phphttps://conservancy.umn.edu/bitstream/handle/11299/214859/CAP%20232.pdf?sequence=5&isAllowed=yhttps://conservancy.umn.edu/bitstream/handle/11299/214859/CAP%20232.pdf?sequence=5&isAllowed=yhttps://conservancy.umn.edu/bitstream/handle/11299/214859/CAP%20232.pdf?sequence=5&isAllowed=yhttps://www.civicarts.org/resourceshttps://www.civicarts.org/resourceshttps://www.civicarts.org/resources


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-ResidenceProjectoronlineaffinity

groupsuchasEmergingLocalGovernmentLeaders’CreativeCommunityCohort.ICMAmemberscancontinuethediscussiononICMAConnect.ReachouttoICMAstaffforassistanceinidentifyingcontacts.

4 Introduce new concepts.Sharesomeoftheguidancefoundwithinthisguidewithyourgoverningbodyandstaff.Identifythosewhoaremorereceptivetotheideasandhelpconnectthemtothework.5 Dare to take small risks and don’t overthink.Asyoustarttobuildrelationshipsandprovidespaceforideastospark,seizeonopportunitiesthatinstinctivelyfeeldoable.Stageapop-up,one-offactivityandseewhat

youlearn.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.Canthesetalentsbebroughttobearintheirexistingor

newresponsibilities?

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

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

https://mailchi.mp/f578b9aa4d6e/civicairhttps://elgl.org/creative-placemaking-cohort/https://breathinglights.com/documentary/https://www.youtube.com/watch?v=wC5w5J836XU&feature=youtu.behttps://www.youtube.com/playlist?list=PLuRFvudqolsqJ0qVBiWrvla72Z80LTBjo


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,explorepotentialresponses,andachieveamoreequitablesolution.(AdaptedfromForecast)

http://www.forecastpublicart.org


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?

https://springboardexchange.org/irrigate/https://springboardexchange.org/irrigate/https://springboardexchange.org/irrigate/https://springboardexchange.org/irrigate/


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.

http://animatingdemocracy.org/sites/default/files/Imagine_Define_Design.pdfhttp://animatingdemocracy.org/sites/default/files/Imagine_Define_Design.pdfhttps://www.arts.gov/impact/creative-placemaking/exploring-our-townhttps://www.arts.gov/sites/default/files/How-to-do-Creative-Placemaking_Jan2017.pdf


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?

https://www.artplaceamerica.org/view/pdf?f=/sites/default/files/public/pictures/creative_placemaking_values_final_for_upload_11_15_19.pdfhttps://www.artplaceamerica.org/view/pdf?f=/sites/default/files/public/pictures/creative_placemaking_values_final_for_upload_11_15_19.pdf


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.

https://municipal-artist.org/pdfs/010-understanding-difference.pdfhttps://municipal-artist.org/pdfs/010-understanding-difference.pdf


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 Rohd,Michael,Martínez,Rebecca,Nankani,Soneela,Sawicki,Sara,&Scrofano,Shannon.(2019).CreatingProcessforChange.In“TransformingCommunityDevelopmentthroughArtsandCulture,”FederalReserveBankofSanFranciscoCommunityDevelopmentInnovationReview2019-2.Availableathttps://www.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:

https://municipal-artist.org/nuts-and-bolts/laying-the-groundwork/power-dynamics/https://www.frbsf.org/community-development/publications/community-development-investment-review/2019/november/transforming-community-development-through-arts-and-culture/https://www.frbsf.org/community-development/publications/community-development-investment-review/2019/november/transforming-community-development-through-arts-and-culture/https://www.frbsf.org/community-development/publications/community-development-investment-review/2019/november/transforming-community-development-through-arts-and-culture/


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 Hambly,Elizabeth.(2018).WhoaretheNaturallyOccurringArtistsinYourMunicipalAgency?AmericansfortheArts:Artists-MunicipalPartnershipsBlogSalon.https://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

https://www.frbsf.org/community-development/publications/community-development-investment-review/2019/november/creating-process-for-change/https://municipal-artist.org/nuts-and-bolts/laying-the-groundwork/why-municipalities-and-artists-partner/https://intranet.americansforthearts.org/2019/05/15/who-are-the-naturally-occurring-artists-in-your-municipal-agencyhttps://intranet.americansforthearts.org/2019/05/15/who-are-the-naturally-occurring-artists-in-your-municipal-agency


• 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

https://municipal-artist.or

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