More Creative Expression That Touches The Divine

by:

Joe Patti

This is turning into a video heavy week with my posts. With all my talk about helping people recognize their capacity for creative expression, this seemed to be a ready made example.

The BBC website hosted a short documentary video of women in southern India drawing kolam. (Unfortunately, the video doesn’t embed well so you will have to follow the link.)

Every morning they will create intricate designs with rice flour near the thresholds of their homes. Foot/car traffic, weather, animals and birds wear it down/consume it over the day and they start again the next morning. (Though the materials seem remarkably resistant to smudging and dissipation as vehicles drive over it.)

There is a belief that the practice will bring protection on the household. One of the women interviewed says it is a great stress reliever for her. The women also see the designs they create as an expression of their inner selves.

The two women who are the primary focus of the video participate in a competition so you will definitely want to watch to video to get a sample of the broad array of designs the dozens of competitors have developed.

Does Gazing Out From The Belly Of A God Provide New Perspective?

by:

Joe Patti

There was an interesting video on Shanghaiist in the last week about a hotel whose architect designed three giant deities for the facade to combat rumors that the building was constructed on a cemetery.

The three deities, Fu (福), Lu (禄), and Shou (寿), represent the three attributes of a good life, “prosperity,” “status,” and “longevity,” respectively. They were added to the design of the 40-meter-tall building by a local architect to compensate for rumors that the structure was being built on top of an old cemetery.

I will let you take a look at the video first. (Let me just say I present this mostly as a diversion and basis of idle musing rather than subject for serious analysis.)

 

One of the first thoughts I had was, if this was in the US, would this be considered some form of artwashing? For example, if someone had used positive imagery on a hotel constructed on a toxic waste site or some other dubious association as a way to assuage fears.

I am not trying to conflate toxic waste with human remains. Personally, I would have no problem staying in this hotel. I have worked in enough theaters that were purported to be haunted or built on sanctified land that this doesn’t bother me. The placement of the hotel and anticipated repercussions appears it has a much stronger social and cultural significance in China than it might in the US.

I just found myself musing about cultural differences. Would something along these lines this be viewed with skepticism in the US while in China it might be viewed as an appropriate gesture given the history of the plot of land.

I also wondered why a hotel might choose to go to the expense of the extra construction. Presumably people coming from out of town wouldn’t be aware of the rumors. Though if it is the sort of place that gains more business from people visiting local residents or conducting business with government or local companies rather than tourism, they might depend more strongly on word of mouth.

I was amused by the comment made by one of the residents that the building unexpectedly became a distinctive feature of the community. I was thinking to myself, how could three 120 foot high deities NOT become a distinctive feature of the community? If nothing else, you could navigate the streets in relation to where it was on the horizon.

Perhaps people did initially see the statues as a cynical use of spectacle to make money but ended up finding that it created a unique sense of place in the neighborhood.

Thinking about all this made me start to wonder how efforts at creative placemaking might appear from the outside through the lens of other cultures. Does it appear like we are trying to manufacture a sense of community where one doesn’t exist organically? (I get the image of some foreign visitor paraphrasing Regina George “stop trying to make community happen, it isn’t not going to happen.”)

Better Civic Pride And Well-Being Is Just A Short Walk Away

by:

Joe Patti

CityLab ran an article from The Atlantic today discussing how the availability of amenities like libraries and cafes within walking distance of your home bolstered civil society and personal well-being in that neighborhood.

A new study shows that living near community-oriented public and commercial spaces brings a host of social benefits such as increased trust, decreased loneliness, and stronger sense of attachment to where we live.

If this sounds interesting, read the whole piece because it offers much more detail about how this situation increases civic participation and trust in neighbors and local government.

These issues were on my mind Saturday as I was attending a block party in the nearby Pleasant Hill neighborhood here in Macon, GA. Pleasant Hill has been a historically black neighborhood since the professional class started building homes there in the 1870s. However, in the 1960s the neighborhood was bisected by the construction of I-75 and portion of those buried in the cemetery were disinterred. Conditions began to worsen as people moved out of the neighborhood.

Now with the widening of I-75 carving more of the neighborhood away there is attention and effort being paid to improving the conditions. A colleague of mine has been an energetic crusader in this regard and has been awarded a number of grants in support of her proposed projects.

The block party on Saturday was part of one of these projects. She and some others had gone door to door asking people what they would like to see happen with an abandoned community space. Five designs created based on that feedback were on display at the block party on Saturday. People were invited to vote for their favorite design by placing a colored dot on a poster board.

Since I know that there is often a lot of will behind building a space, but less support for operations, I was evaluating the plans for sustainability. All of them had some elements associated with artistic programming, but some emphasized the creation of community gardens. Another had some retail space with barber shops and nail salons. Another was oriented toward counseling services, study spaces and writing programs. Two of them were totally about artistic expression. There were dance studios; spaces for painting and drawing and performance spaces.

Most of the dots were ending up in the columns of these heavily arts spaces. I sighed inwardly. Those would be some great spaces, but they didn’t seem optimized for self-support. One of those designs might get built, but was there a plan to support it? (Good lord! This sounds just like the funder rational I often criticize. I have been infected!)

Besides, didn’t they already have activities like that at the much larger community center across the street?

No, actually they didn’t.

I walked across to see what was in the community center and it was quickly clear there hadn’t been any activities or staff of any kind in there for quite a few years.

This might be even more of an argument for a self-sufficient design, but it also possibly provided insight into the preferences of the voters.

People were drawn to the project designs that would provide them with what they didn’t have — a place to participate in some basic creative expression. Kids were congregating in front of the pictures of people taking dance and art classes because they didn’t have access to anything of the sort.

I was considering whether I wanted to write about this today as I walked back to my car on Saturday. The article on CityLab decided me because the idea that such places create stronger community bonds and a sense of identity aligned so strongly with what I felt I was observing.

I Probably Don’t Really Know What My Audience Values Even Though I Am In The Lobby Before, After, And At Intermission

by:

Joe Patti

I bookmarked a guest post on Museum 2.0 a month ago. Now I feel guilty for not circling back to it sooner. Nina Simon invited Martin Brandt Djupdræt, a manager at Danish museum,  to write about how his organization has all the decision makers interact with visitors as part of their audience research effort.

Their approach is super simple, though a little time consuming. A member of management approaches a random visitor and asks if they can follow the visitor around to observe where they go in the museum and what they interact with. Three weeks later they give the visitor a call and ask:

• why they chose this museum,
• what they noticed especially during the visit,
• whether they interacted with anyone, and
• whether they had talked to anyone about the museum after the visit, and what about

Every decision maker in the organization seems to be required to participate, from management to curators. Djupdræt says the goal is to get managers up and away from their desks interacting with people with whom they wouldn’t normally come in contact.

As you might imagine, what the managers and curators were sure people valued about the museum wasn’t quite accurate. Even those with more direct contact with visitors were surprised by what they learned.

The curators were surprised by how important other parts of the museum besides the historical content were for the visitor. The F&B manager and the head of HR were surprised by how many objects and stories the visitors were absorbed in. This has also given us insights into the work of our colleagues and made us appreciate their work to a larger extent. Now we all have useful and inspiring stories about visitors’ choices and the impact the museum had on them.

Another observation was the importance of food and drink. In our trackings we could see how much time the visitors spent on the museum’s eating places and the great social importance these breaks had. Something we learned about food through the interviews was that the guests consider the food at the museum as part of the museum’s storytelling. This insight has encouraged us to focus on food and food history as a priority topic at the museum, and a colleague is going to work particularly with that subject.

[…]

Visitors have always been a focus for the management, but the research have personalized our audience and they are discussed differently now. As the head of finance described it: “I normally look at whether a task is well done, financially possible and efficient, but now I also consider more seriously how a visitor would feel and react to the changes we plan.”

I especially wanted to include that last section as a reminder that measuring success by efficiency and expense doesn’t necessarily equate to providing a fulfilling experience.

One thing Djupdræt didn’t cover that I was curious about was why they waited three weeks to follow up. I didn’t know if that was a social practice in Denmark where it was rude to immediately survey people about their experience or if it was calculated to see how much of the visitor experience still made an impression three week later.

The whole article is a reminder not to depend entirely on surveys as an evaluation tool. Yes, it is an important practice to have people in the back office interacting directly in a focused manner with the people the organization serves, but there is also the shift of perspective this practice brings. You would assume a food and beverage manager would have fairly extensive interactions with visitors and would be paying close attention to trends.  That person at the Djupdræt’s museum still found themselves surprised by some of the insights they gained.