Philadelphia-Camden Cultural Participation Benchmarking Project
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Philadelphia-Camden Cultural Participation Benchmarking Project Presentation of Neighborhood Survey Results June 14, 2005 Alan Brown. Methodology. Door-to-door intercept methodology (orally administered interviews) Random sample of addresses in each of the five neighborhoods

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Presentation Transcript

Philadelphia-Camden Cultural Participation Benchmarking Project

Presentation of Neighborhood Survey Results

June 14, 2005

Alan Brown

1


Methodology
Methodology Project

  • Door-to-door intercept methodology (orally administered interviews)

  • Random sample of addresses in each of the five neighborhoods

  • Approximately 75% of all interviews were completed at listed addresses.

  • Culturally-appropriate approach to data collection

    • Point Breeze Performing Arts Center students, alumni and staff

  • A total of 602 interviews were completed between June and October 2004 – about 120 in each neighborhood.

    • 78 interviews (13%) were conducted in Spanish

2


Neighborhood map
Neighborhood Map Project

3


Who did we talk to
Who did we talk to? Project

  • Mostly females (between 65% and 70%)

  • Mostly younger adults (25 – 44)

  • High School education

  • Predominantly African Americans and Hispanics

    African- Hispanic or

    AmericanMixed Race/Other

    North Phil. – West 80% 9%

    North Phil. – Central 71% 15%

    North Phil. – East 34% 53%

    North Camden 26% 52%

    South Camden 39% 32%

4


What did we ask them
What did we ask them? Project

  • Questions about community engagement

  • Questions about participation in:

    • music, dance, theatre, visual arts, literature and spoken word, media arts, other creative outlets

  • Awareness of specific arts programs

  • Connection to an artist/cultural leader

  • Desire to do more arts activities

  • Use of the Internet

  • Demographics

5



Five Modes of Arts Participation, Project

Based on Level of

Creative Control

NONE

  • Inventive Arts Participationengages the mind, body and spirit in an act of artistic creation that is unique and idiosyncratic, regardless of skill level.

NONE

NONE

NONE

AMOUNT OF CREATIVE CONTROL

TOTAL

AMOUNT OF CREATIVE CONTROL

  • Interpretive Arts Participationis a creative act of self-expression that brings alive and adds value to pre-existing works of art, either individually or collaboratively.

  • Curatorial Arts Participationis the creative act of purposefully selecting, organizing and collecting art to the satisfaction of one’s own artistic sensibility.

  • Observational Arts Participationencompasses arts experiences that you select or consent to, motivated by some expectation of value.

  • Ambient Arts Participationinvolves experiencing art, consciously or unconsciously, that you did not select.

NONE

7








Participation findings dance and theatre
Participation Findings: instrumentsDance and Theatre

14




Hip hop ballet ethnic and praise dance are the types of dance performances mentioned most often
Hip Hop, Ballet, Ethnic and Praise Dance are the types of dance performances mentioned most often

17



Participation findings visual arts crafts
Participation Findings: theatre participationVisual Arts & Crafts

19




And by ethnicity
… and by ethnicity gender…

22


The context for doing art craft making activities is typically by yourself
The context for doing art/craft-making activities is typically “by yourself…”

23


And at home
…and “at home” typically “by yourself…”

24


What s hanging on the walls in your home
What’s hanging on the walls in your home? typically “by yourself…”

  • Four in ten respondents said they “display paintings, posters, photographs, or other art in your house.”

  • Among those who do, the most meaningful pieces of art in their home are:

    • Paintings, unspecified

    • Religious art (paintings, drawings, statues)

    • Family photos

    • Posters and photos of athletes and performers

    • Artwork by children

25



Participation findings other activities
Participation Findings: typically “by yourself…”Other Activities

27


A third of respondents say they do creative writing and almost all say they read for fun
A third of respondents say they do creative writing, and almost all say they “read for fun”

28


What do you write
What do you write? almost all say they “read for fun”

29




Other key findings
Other Key Findings the “living arts”

32


Community based arts groups have a substantial footprint in the three n philadelphia neighborhoods
Community-based arts groups have a substantial footprint in the three N. Philadelphia neighborhoods

33




Summary of ideas
Summary of Ideas of participation

36


“Five Modes” Participation Profile, of participation

Five Neighborhoods

NONE

  • Inventive – Key forms of inventive participation include making art and crafts, writing original poetry/rap, letters and diaries, and also gardening, cooking

NONE

NONE

NONE

AMOUNT OF CREATIVE CONTROL

TOTAL

AMOUNT OF CREATIVE CONTROL

  • Interpretive – Interpretive activities include social dancing, singing and rapping to music on the radio, but not much instrument playing

  • Curatorial participation is strong – collecting music, listening to radio, displaying art in the home, dressing creatively

  • Observational – some music, theatre attendance, also zoo/aquarium; much occurs in community venues, esp. free events

  • Ambient Arts Participation– not much data here, except for the ambient art that people create for themselves at home

NONE

37


Summary of participation findings
Summary of Participation Findings of participation

  • One sees a clear emphasis on at-home cultural participation, both social and solitary

    • New emphasis on curatorial participation

  • Churches, community centers and outdoor venues are key parts of the delivery system

  • Significant differences in participation patterns across racial/ethnic groups

  • Radio is the dominant mode of music consumption

  • Many are active participants in the “living arts”

  • Few personally know artists or cultural leaders

38


Implications for increasing cultural participation
Implications for Increasing Cultural Participation of participation

  • Increase access to artists and cultural leaders at the neighborhood level

  • Invest in community-based arts programs and venues, including church arts programs

  • Home-based, self-directed arts activities

  • Access to musical instruments

  • Radio as a distribution channel

  • Different interventions for different racial/ethnic groups

  • The “living arts” are an opening

  • Participatory community cultural projects involving children

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