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Measuring Change in Continental Harmony
Community-based Art & Community Development I. Introduction In this paper, we will: 1) describe the observation model we devised for the Continental Harmony project, including seven study theses about the impact of this community-based arts program on its participants, 2) analyze preliminary data from four of the 58 project sites, 3) expand our original study theses on the basis of this preliminary data, and 4) propose provisional schematic models of the interplay between art-making and community processes. Continental Harmony is a millennium initiative of American Composers Forum in partnership with the National Endowment for the Arts. Continental Harmony is a new music program, consisting of fifty-eight community-based commissions and residencies, at least one in every state. The guiding principle has been to provide assistance and encouragement to local groups to define a theme which would be a meaningful way for the community to celebrate the millennium year with music. Each composition is written for local musical forces, by a composer selected by the people in the local community. This project is unique in both its scope and in its "grass-roots" organizational structure. American Composers Forum staff serve as brokers, facilitators, and occasionally coaches in bringing the participating communities together with composers for their artistic partnership. The Forum believes that local groups in small towns and urban neighborhoods have both the aesthetic judgment and organizational ability to carry out such a partnership. In his provocative book, A Snake’s Tail Full of Ants: Art, Ecology, and Consciousness, British writer and artist John Lane proposes that the place of art in Western society needs to undergo a fundamental transformation. He argues that in the modern age art has become disconnected from society, that "Art (produced by Artists) exists solely for its own sake … and that it must be assessed in the manner we call ‘aesthetic’." While this has unquestionably resulted in the creation of masterful works, Lane argues a tragic consequence has been neglect of the imagination and creative potential of ordinary people, with negative effects both on individuals and cultures. However, recognition of the responsibilities of the arts toward the wider civic culture is becoming more widespread. For example, Americans for the Arts and the Institute for Community Development and the Arts recently launched a major initiative, "Animating Democracy: Strengthening the Role of the Arts in Civic Dialogue." Similarly, in the foreword to the new edition of his book on the community arts movement, William Cleveland notes: "What started out seeming like a fairly contained universe has mushroomed into an ubiquitous presence in grant applications, community cultural plans, public agency initiatives, and thousands of new programs." With the approach of the year 2000, staff at the National Endowment for the Arts and the Forum discussed ideas for suitable millennium projects. The Forum’s significant experience and history of success in attracting new audiences, including bringing composers into rural communities or other areas less likely to have access to new music, were attractive to the agency. In addition, the idea that each state should have a project seemed admirably appropriate for a national music project in celebration of the millennium year. Thus from the beginning, Continental Harmony was conceived to be directed especially to smaller communities and urban neighborhoods. At the same time, some members of the composer community and some staff at the agency were understandably concerned about what kind of outcomes such a project would produce, since some of the key aesthetic judgments were to be lodged with community members. The idea that communities would compete only with others from their own state, rather than on a national basis, also seemed unfair or inappropriate to some. Another concern was whether American Composers Forum would have the organizational strength to carry out such a big project. While in retrospect these concerns have proven groundless, early 1998 was a time of both great expectation and some anxiety for staff both at NEA and ACF. Would communities be interested, would they develop meaningful projects, would composers be willing to write for the occasions and performers in rural areas and small towns, would enough funds be found to fund the project so that all 50 states could be included? Acting partly on faith and partly from a firm commitment to a community-based model of art-making, the Forum eventually convinced enough funders that the concept would produce a notable celebration of the millennium. A national panel chose the communities in late 1998. The projects were advertised to composers early in 1999; the composers then applied directly to the sites in which they were interested. The site committees reviewed the applications and selected the composer they determined best suited to their needs.
II. Opportunity and Challenge ACF understood very early in the development of Continental Harmony that the project offered a unique opportunity to study the impact and processes of arts-based community engagement. The program’s focus, in terms of time, resources and intent, and the number and variety of communities, partnerships, and artists, provided a community-based lab for studying both outcomes and research methodologies applicable to the broader community arts field. It also presented major challenges, the most daunting of which was the volume and diversity of data that could be made available. Another obvious challenge was how to document and study the diversity of perspectives represented by each project’s three principal partners: the site sponsor, the composer and ACF. In response to the wide range and complexity of information available, we decided to approach the design of the research protocols to provide a picture of each project’s evolving story. We realized that this would have to be done in a way that did not intrude on the composer’s work and the site's project management. Another of our concerns was balance: it was critical that the effort to document community development objectives did not take precedence over the study of aesthetic goals and processes. To accomplish all of this in a way that was manageable we created a two-tier evaluation process. For the first tier, each of the 58 sites was asked to provide general reports, evaluations of residency activities and performances, documentary data (press coverage, photos, programs, e.g.), and a final report. For the second tier we selected 15 projects (target sites) reflecting the diversity of environments and conditions of the program's full cohort for more intense study. These sites would be asked to "go the extra mile" to help ACF make the most of this documentary opportunity. Defining Success One of the core principles guiding the Continental Harmony effort was community/composer collaboration and ownership. This meant that, although the American Composers Forum had outlined its own goals for the program, it would not impose its definition of success on the participating communities and composers. This approach meant that the evaluation process would need to document, measure and test the many definitions of success that were emerging from these community/artist partnerships. To do this we designed a multi-stage process to define how the 15 target sites viewed the project's potential outcomes. The first data collected was a pre-test sent to all host sites and composers soon after their selection. In this instrument, we asked both groups to project what a successful outcome of the project would be. In addition, sites identified potential beneficial impacts on their organizations and communities and composers on their careers. This instrument, thoroughly analyzed for the fifteen target sites, provided an extraordinary range and mix of "desired outcomes," including everything from the celebration of community heritage, to economic revitalization and conflict resolution. Summaries of these responses were then organized on a large spreadsheet. The program sponsor, composer, and project description were listed along with four outcome/impact categories for each of the 15 programs. These categories were:
In all, 178 success indicators were identified by the composers and site sponsors for the 15 target sites. Table A. below is an example of how this information was organized for Arizona’s Grand Canyon Music Festival, one of the programs studied. Table A. Detail excerpted from An Inventory of Desired Outcomes (15 Selected Sites)
In addition, to gain insight into how the American Composers Forum defined success for Continental Harmony, relevant staff were asked to elaborate on the project goals outlined in the program’s planning documents and funding proposals. The collected responses from sponsors, composers and ACF showed the range of success definitions. Grouping similar responses resulted in 7 success indicator categories.
These categories reflect many of the specific domains that define the ACF mission: "the linking of composers and communities." Given the uniqueness of the ACF mission, we did not want to approach CH as just another national delivery system for artistic programming. Rather, we wanted to use it as an opportunity to investigate and test the assumptions and/or theories that informed both the program and the ACF mission. Therefore, an additional goal of the evaluation became measurement of the efficacy of that mission as it played out through Continental Harmony. The process of grouping the success indicators also showed the need to draw a distinction between the project’s impact on the sponsoring organization and its effect on the community at large. We decided to treat "the community" as a separate program partner in the study. The evaluation, therefore, looked at definitions of success from 4 perspectives: site sponsor, composer, community and ACF. We then created a matrix to compare these perspectives among the 7 impact categories. The following example shows how this looked for 2 of the 7 impact categories, audience development and community development. Table B. Detail excerpted from CH Success Indicators Matrix (15 selected sites)
Thesis Statements The results of this analysis helped to focus our evaluation design in the context of two basic questions:
The answers to other questions, such as how to define "linkage," or "community," would, we decided, emerge inductively through the development each site’s project. The success indicators and local criteria for determining success were transformed into testable thesis statements: Theses to be tested by Continental Harmony evaluations Long term composer residencies that are community-initiated and community-based will:
Designing an Evaluation The next task was to decide how to document, measure and test whether these theses were being achieved at the 15 target sites. We saw ourselves confronting a situation not unlike that faced by the blind men in the ancient parable who were trying to describe the elephant. To see our "elephant" clearly, we needed data from multiple perspectives and sources to understand the processes and tell the stories of these composer residencies. Through brainstorming, we purposely identified numerous traditional and non-traditional evaluation methods, many more than we could possibly use. The final selection emphasized reliability, ease of application, ability to provide a uniquely interesting perspective, and capacity of an instrument to test multiple thesis statements. The final mix of evaluation tools fell into six basic categories:
Table C is a matrix of the evaluation instruments that are being used. Table C: Matrix of Continental Harmony Evaluation Instruments
Comments on Evaluation Instruments:
We had originally planned to ask the sites to do audience surveys. In fact, we did not do this. The logistics of putting on a major community event made consistent application of these instruments difficult; as a result we decided not to impose yet another evaluation-related requirement on the target sites. This important data source will most likely be applied by a third party for future community residencies sponsored by American Composers Forum. III. Analysis of 4 cases Since the Continental Harmony project is not yet complete, we do not have a complete data set for analysis. Therefore, for this paper we will provide a preliminary analysis of four of the fifteen target sites to illustrate our methodology: the projects in Sacramento, California; Miami, Florida; Franklin County, Maine; and David City, Nebraska. Our interest here will be the degree to which the project exhibited:
These four cases are instructive in that they demonstrate the difficulty as well as the benefits of community-driven arts work. A brief description of each project's goals, as laid out in the original application to Continental Harmony, will be followed by an analysis of outcomes, as we see them at this point in the project's development. Sacramento CA: Camellia Symphony proposed a piece for both Western and Chinese instruments to commemorate the role of Asian immigrants in the history of California. The symphony planned to play the work as part of their regular subscription series, but also to mount a special concert on July 4th at the Governor's mansion. The residency was to include work with schools and civic groups, including those representing the various Asian communities of central California. Miami FL: The Florida project was a coalition between the South Florida Composer's Alliance (SFCA) and the Historical Museum of South Florida (HMSF). The proposal was understood by the selection panel as an attempt to celebrate Miami's diverse Afro-Caribbean communities. The composer was to write music for a new ensemble to be created from the musicians in the various groups, the music to be presented at SFCA's annual Subtropics New Music Festival. In addition, the project's musical materials were to become part of HMSF's archives. CH staff understood this to mean that the composer would collect materials from the various communities, probably on tape, which would document the rich cultural traditions of Miami's peoples. The composition would bring these groups together in a cross-cultural celebration. Franklin County, Maine: Foothills Arts in Farmington was selected to represent Maine with a proposal to combine two musical traditions of the state: the classical with the Franco-American. Students from the extremely active school string program, both classical and French fiddling, would be the core from which a large performing force from the county's various communities would be assembled. In collaboration with Franklin County's Peace in our Families Campaign, Foothills Arts hoped thereby to improve communication between the region's two ethnic traditions — the Anglo-and Franco-American. In addition to cultural background, these communities occupy somewhat different socio-economic status, symbolized by the university town of Farmington and the mill towns of Jay and Livermore Falls. David City, Nebraska: The host selected to represent Nebraska in Continental Harmony was the Butler County Arts Council. This all-volunteer group submitted an attractive proposal requesting a composer to celebrate the rural life and musical and ethnic heritage of the region. David City was the birthplace of vaudeville singer, Ruth Etting, a fact commemorated by the town in their annual Vaudeville Days Festival. There are, additionally, a number of community festivals in the area, several of which feature the cultural traditions of the many residents of Czech ancestry. The lead-performing group was to be the Butler County Community Choir with the addition of instrumentalists as feasible and the work was to be performed at a number of these community festivals around the county. As outlined previously, Forum staff tracked the progress of all 58 Continental Harmony projects through the following methods:
Additional data for the 15 target sites was collected using electronic composer journals, a detailed program questionnaire, radio documentaries and third-party telephone interviews. Our preliminary analysis of performance and residency data from the 4 cases discussed in this paper is summarized in Table D. Table E provides a tentative assessment of each project's progress toward the fulfillment of each of the seven theses. Table D: Residency and Performance Data
The project letter of agreement stipulated that the composer's fee included up to four weeks of residency in the community as well as the composition and the CH project was able to provide travel support for 3 economy flights from the composer's home to the site. Specific residency plans were, of course, left to the discretion of the community and composer. The residency- related research, community interaction and events varied greatly among the four projects: California: Han Yong, a Chinese national living in New York City, visited Sacramento twice,first in November of 1999 to become acquainted with the community. A third trip had to be canceled because of a serious back injury, which immobilized him during much of early 2000. Instead Camellia's music director traveled to NYC to consult on the score. However, the composer did quite a bit of school and community work during the days leading up to the premiere in May, apparently an entirely new experience for him. There was a very substantial amount of interest in the project on the part of Asian civic groups. Florida: Lukas Ligeti visited Florida twice. After work abroad during most of the fall of 1999, he gained his first exposure to the community in mid-December of 1999, and followed this with a 3-week stay just before the April premiere to compose/prepare the work with 6 selected musicians representing musical traditions from several Caribbean cultures (Puerto Rico, Aruba, Cuba, Trinidad). Maine: Alexis Alrich spent time in Farmington and the surrounding communities on four occasions (corresponding loosely to all 4 seasons in central Maine). During these visits she did extensive research and was introduced to many community residents as well as local musicians. She met the local poets whose work eventually provided the texts for her composition; she also worked with school classes and attended meetings of civic and governmental groups with site organizers. During her February visit, a preview concert was held featuring part of her composition and a performance by the Franklin County Fiddlers. The purpose of this get-together was to recruit members for the chorus, since the area did not have an existing community choir. Nebraska: Deborah Fischer Teason traveled to David City five times between early June of 1999 and the premiere in May 2000. She attended community festivals, organized a lyric-writing workshop (from which the texts evolved), rode combines, worked with school children in week-long composition workshops, and explored local musical traditions, among other activities for the purpose of mutual acquaintance between herself and the area's residents. She was also able to work with the local button accordion ensemble who were to have a part in the composition, an essential activity since these players do not read conventional music notation, nor could she locate extant scorings for the instrument. The following tentative conclusions regarding achievement of the 7 theses in the four communities are based on a preliminary analysis of the following data sources: residency evaluations by sites and composers; composer journals; performance evaluations from composers, site sponsors, and musicians; the first administration of the general program questionnaire (Jan. 2000); the first iteration of 3rd-party interviews (June 2000); quarterly reports from sites and composers; and participant observation field notes, including conversations with participants and community members. Table E: Achievement of the 7 theses in Four Communities:
Theses 1 & 2: Merit of the work Based on field observation of the performances, performance evaluations, radio documentaries and reviews we have determined that each of the four projects here described produced music of merit. Given the subjective nature of music criticism, this is our most tentative observation. California: Camellia Symphony performed "Pictures of Years: Nianhua" in May of 2000 (the proposed July 4th performance did not occur). The work is based on the Chinese Zodiac, and includes 7 musical pictures of the animals symbolized in Chinese cosmology. The composition's combining of Western and Chinese instruments was described as well crafted by Forum staff, the radio documentary producer, and William Glackin, the reviewer from the Bee. In his review, Glackin noted: " ’Pictures of Years" is full of all sorts of fascinating sounds, absorbingly wrought, unexpected. . . . the work is full of all the basic pleasures of music–melodies being traded and developed, transmuted through different voices. The scoring is wonderfully particular at times, at others lush . . .Saturday’s concert. . . won him and the performers a long ovation." Important from a community perspective is that many people from Sacramento's Asian communities attended the concert and were extremely appreciative of the piece. Site sponsors estimate that the attendance at the concerts was 10% greater than usual due to this involvement. We do not yet have feedback from the musicians. Florida: Lukas Ligeti's composition was an experimental/improvisational work featuring several percussionists and a spoken-word artist directed by the composer through computerized "click tracks." The Miami New Times featured a long detailed article about the composer's use of computer technology in creating his work. The author's view was that the work expanded the boundaries of new music in a cross-cultural context. However, the Continental Harmony concert was only one event in an ongoing new music festival that was presented during the time that Miami (and the nation) were engrossed in the Elian Gonzalez story. According to Forum staff in attendance, the audience did seem to be as engaged in the piece as in other locations; further, we have not received feedback from the musicians themselves. Maine: Alexis Alrich produced far more music than she was contracted for. Her "Hill in the Country: Maine Suite" included 10 pieces for chorus, orchestra, fiddlers, and solo voice. The works for singers used texts from the poetry of local residents and included the title work for chorus "A Hill in the Country" and a concluding anthem "The Land that Abides." The orchestral movements were evocative of the Maine landscape. A highlight of the performance was a Grand March, led by members of both ethnic communities. The work was performed in both Farmington and Livermore Falls in June, to a total of c. 900 people, who responded with extended standing ovations. In her performance evaluation, Alrich stated that the performers were accepting of the work from the beginning; she noted that the project was characterized by "an air of respect" which, she indicated, made it easy to communicate her ideas. Nebraska: The composition was a 5-movement work entitled "Heartland." The lyrics, judged both poignant and poetic by the composer and the reviewer from the Omaha paper, were written by community people in a series of workshops. Field notes from community visits show that the work was highly relevant to everyone involved and was received with extended standing ovations. According to the music director, Keith Byrkit, the adult singers found the work very difficult at first; however, they managed to persevere under the patient guidance of Mr. Byrkit and the determination of the ensemble's core. Byrkit, composer Teason, and others from the committee also indicated that the community instrumentalists found the work much more difficult than they were used to, since as noted above, several do not read conventional notation. At the conclusion of the project, one of these musicians noted that the work was the most difficult thing he had ever done but that he was glad he stuck with it. Performance evaluations from sponsors, musical director, and composer all agree that the work was extremely well received, a conclusion verified by direct observation. Thesis 3: Increased awareness, understanding and appreciation of composers and their work among participants and other community members As noted above, the general program questionnaire, which speaks to all 7 theses, was distributed to a panel of community evaluators in January of 2000; this was before any performances but after initial residency activities by the composers. Thus, each recipient should have had some familiarity with the project and perhaps the opportunity to meet or work with the composer to some degree. The return rate from this mailing was: California 67%, Maine 60%, Nebraska 44%, and Florida 0%. Of the 18 community people who returned the survey from California, Maine, and Nebraska, 79% said students had an increased awareness of composers and composing, 56% felt teachers had experienced the same result, and 56% said the new and lasting relationships had been established among community members and composers. All the rest of the respondents to this early measure did not answer or indicated it was too early to tell. The composers were also sent the document and 3 of the 4 returned it, and 2 answered the above questions with strong agreement. Analysis of the six residency evaluations from Maine and Nebraska also verifies this conclusion: all agreed or strongly agreed that: the composer was well-prepared and communicated effectively, the audience was interested and challenged, and the audience gained new insight into music, the creative process, and what composers do. Indeed, in these two states the composers established strong connections throughout the community and were able to demonstrate composers’ work in a variety of contexts. It is less clear how the residencies in California and Florida played out. Although we have no formal data specifically about the residency activity in California, we know from the general program questionnaire that the site organizers produced materials on Chinese music and culture, which were distributed to schools prior to the visits of the composer, the Chinese musicians, and symphony music director. These visits appear to have been quite successful from the perspective both the teachers and the artists. It is not known whether there were any community outreach activities in Florida which would have increased awareness of composers. Certainly the musicians who worked with Ligeti in the production of Migrant's Journal must have experienced heightened awareness. Theses 4-6: Measurable and lasting positive impact on sponsors, local arts communities, and on local community development. At this point, of course, we cannot say whether the impacts observed will be lasting, and our measurements cannot be fully developed until after the data collection process is complete. However, from site visit observation, reports, and the first round of surveys and 3rd-party interviews, we can draw some tentative conclusions. Nebraska: Our data is especially rich for Nebraska, since the site organizers contributed to a presentation which Forum staff, the Nebraska music director and composer gave at a meeting of the National Council on the Arts in July of 2000. For this presentation the site organizers indicated the direct impact of the project as:
And longer term impacts:
Other benefits to date:
Maine: In Maine an early report said: "Our selection as host site has generated a great deal of excitement across a broader section of the community than we've ever reached. It has given us an excuse for spending time and money on networking with sectors of the community that we've always wanted to work with . . .In the process of articulating for our composer what is special about our community, people are becoming more aware themselves of just what it is that makes us who we are! It is a real pride-building process!" Recall that the goal of the Maine project was to bring together the Anglo- and Franco-American communities through music. At the February preview concert to recruit a community choir, the site organizer mentioned to the Forum's observer that members of both communities were present, having come out in a snowstorm. The final performance forces were composed of people from both ethnic groups, as was the project committee. This degree of inter-community participation was a first for the area, according to the site organizer; in addition, the head of the project committee believes that the community choir formed for this project will continue. Foothills Arts was very successful in coalition building; site organizers established relationships with civic leaders, the literacy group, and with the Peace-in-our-Families campaign. The potential for future collaborations surrounding civic issues thus seems good. California: The site contact at Camellia Symphony indicated that she was very pleased with the response of the community to the project: "We used Continental Harmony to extend our educational outreach . . .We were able to bring in $15,000 in addition to the ACF money . . .The project itself is a piece with its foundation about the immigrant Chinese workers in our history. The Chinese community came all out for it. We got over $3,000 in individual donations from that community. The idea was to bring the community together. It worked." She reports that around 50 leaders of the Asian-American community attended a reception prior to the concerts. She also felt that the profile of the Symphony had been raised, particularly with Asian-Americans. She reports that the project committee included a very active representative from that community who provided very effective liaison. She believes that these new relationships will be applied to future projects where there is an Asian focus. Further, the extensive educational outreach reached over 1000 children who, in her words, "were fascinated by the instruments and the sound they created. Educating through the arts is a great way to teach acceptance, tolerance, and understanding of another culture." Observations about impact of the CH project on sponsors, arts organizations, or the community at large in Miami are almost pure speculation, since we have almost no written data. However, field notes of visits to the site suggest that there was little or no community engagement outside of the several performers who came together for the occasion. Clearly, the project did not engage the attention of the leaders of Miami's various Afro-Caribbean communities. The site organizers were unable to raise sufficient funds to complete the full vision of the project. Indeed, in retrospect it seems likely that Forum expectations for the project exceeded what is reasonably possible in a city as large and diverse as Miami; it also seems that Forum understanding of the project goals diverged from site organizers' intent from the beginning. Thesis 7: Measurable and lasting positive impact on composers The final reports, which ask composers to evaluate the impact on their work as artists, on their careers, and in their perception of community work, have not been received from the 4 composers in these cases. However, from interviews with them, all of the composers indicated that they have benefited from their participation in Continental Harmony. Teason, Alrich, and Yong all indicated that they felt that their music was greatly appreciated by their hosts. In their responses to the general program questionnaire, Teason, Alrich, and Ligeti say they have grown aesthetically and technically from the project. One of the composers identified new professional opportunities that have emerged as a result of participation in Continental Harmony. Teason's "Heartland" work will be performed by other groups within the coming year and she has received yet another commission in Nebraska. Composers also described how they felt the residency experience enhanced their creative processes. Alrich feels the time she spent connecting to peoples’ daily lives has opened up a new perspective and new way of making music for her in her career. Yong states that he has experienced a new way of interacting with people through the residency. Working in a community context carries some drawbacks, of course. The musicians in all four states included many non-professionals, some of whom could not read conventional notation. To what degree this affected what the composers felt they could write is unknown, since we did not specifically ask them to comment on this issue. However, Teason, for one states that one of her prime goals was to maintain high aesthetic standards. This seem to have been the general rule throughout Continental Harmony; only a few composers (and none of the 4 being discussed here) have expressed concern to Forum staff about having to "write down" to the performers' level. Getting a good recording was another problem, not so much because of musical ability, but because of the venues and technical capabilities of some of the smaller communities. The music in some cases is quite site-specific. This may limit its ability to have a life beyond this project, although that is not inevitable. The Florida music was probably a one-time occurrence. The other works will have at least regional, and perhaps broader, appeal. IV. Conclusion At this point, we return to our original 7 general study theses in a more general way. We believe that the initial analysis of the 4 cases provides support for continuing use of these theses as provisional hypotheses to guide the assessment of the Continental Harmony project. Below we frame additional provisional sub-hypotheses, which will guide our investigation as we complete the data collection and analysis process. Note that these hypotheses have not yet been formulated in testable form. Long term composer residencies that are community initiated and community based:
As indicated in the introduction to this paper, the unfolding of the Continental Harmony project has heightened our interest in being able to document in systematic way the role of the arts in community development. Our method was to devise a multi-dimensional data collection strategy so that, at the end of the day, we would be able to assess the degree to which the various methods provide the means to test our provisional hypotheses. It is not yet the end of the day. However, given the fact that theory development and data collection are and must be in an ongoing reciprocal relationship, we provide on the following pages two schematic diagrams which posit the relationship between community development and the creative process. The first approaches the question from the perspective of community development, laying out a tentative model and suggesting places the arts can impact the process. The second approaches the question from the perspective of the arts, suggesting places in a community into which arts organizations and artists can insert their special creative skills for community development purposes. These models are, of course, provisional and they are not theories. They merely propose a set of variables which may be useful in understanding the connection between the arts and community life. Theoretical development will require hypothesizing, for example, the conditions under which artists, arts events or organizations are helpful in forging coalitions which are then applied to other community issues. We invite critiques of these with a view to moving the field toward research protocols which can confirm and/or disconfirm the relationships among relevant variables.
Tentative Community Development Model
Arts-Based Community Development
Appendix Characteristics of Successful Artist Residencies A. Overall Program Design Characteristics
B. Artist Characteristics
C. Community Characteristics
Bibliography Bacon, Barbara, et. al. Animating Democracy: Artistic Imagination as a Force in Civic Dialogue. Washington DC: Americans for the Arts, 1999. Cleveland, William. Art in Other Places: Artists at Work in America’s Communities and Social Institutions. Amherst MA: Arts Extension Service Press, University of Massachusetts, 2000. Lane, John. A Snake’s Tail Full of Ants: Art, Ecology, and Consciousness. Foxhole, Dartington, Totnes, Devon: Green Books, Ltd., 1996. McDowell, George R., "Some Communities are Successful and Others are not: Toward an Institutional Framework for Understanding the Reasons Why," Chapter 15 in Sears and Reid, eds. Rural Development Strategies. Chicago: Nelson-Hall Publishers, 1995. Merton, Robert K. Social Theory and Social Structure. New York: The Free Press, 1967. Weisman, Alan. Gaviotas: A Village to Reinvent the World. White River Junction VT: Chelsea Green Pub. Co., 1999. Original CAN/API publication: June 2001 CommentsPost a comment Thanks for signing in, . Now you can comment. (sign out) (If you haven't left a comment here before, you may need to be approved by the site owner before your comment will appear. Until then, it won't appear on the entry. Thanks for waiting.) |
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