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Asian Arts Initiative What We Want Is Here: Neighbor Hood

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Asian Arts Initiative What We Want Is Here: Neighbor Hood WHAT WE WANT IS HERE: WE WANT WHAT WHAT WE WANT IS NEIGHBORHOOD PROJECTS 2012–2018 NEIGHBORHOOD PROJECTS HERE: NEIGHBOR HOOD PROJECTS 2012—2018 ASIAN ARTS INITIATIVE ARTS ASIAN ASIAN ARTS INITIATIVE CONTENTS Timeline PEARL STREET PROJECT 6 61 Introduction Gayle Isa 9 Advice From the Field 68 Towards Synergy and Transformation: Reflections on Arts and Cultural Organizations as Allies in Community Development and Planning Contributor Biographies Maria Rosario Jackson, Ph.D. 12 72 Poetics and Praxis of a City in Relation Roberto Bedoya 15 STAFF & BOARD 77 The Joy We Make: Culture and Relationships in Funders Urban Planning and Design Theresa Hwang 21 78 Social Practice Lab 50 Credits 80 2 Asian Arts Initiative 3 What We Want Is Here: Neighborhood Projects 2012—2018 TIMELINE 2012 AAI launches two new neigh- borhood programs, the Social Practice Lab Artist Residency, 2014 1997 AAI issues the first open call AAI moves out of Painted and the Pearl Street Project. Bride Art Center and into to artists and neighborhood the Gilbert Building at 1315 2005 members for Pearl Street Cherry Street. Our first Chinatown Micro-Projects, which are 2016– In/flux exhibition opens scheduled throughout the with a community block next year. party and walking tours of 2018 Guided by a Working Group 7 contemporary artists’ 2013 of diverse neighborhood projects installed throughout 1993 AAI celebrates the culmina- stakeholders, Asian Arts the neighborhood. Asian Arts Initiative (AAI) 2000 tion of the inaugural cohort Initiative publishes the is created at Painted Bride AAI’s Gallery program is of Social Practice Lab Artist generated by a group of People:Power:Place cultural Art Center in response to Residencies, and throws the plan and prepares to pilot community concerns about volunteers who install track first of many Pearl Street the Shared Spaces 共享空間 racial tension. lighting and begin curating a Block Parties. regular season of exhibitions project. each year. 2007 2018 Forced to move to make 2016 AAI celebrates 25 years with way for the Pennsylvania AAI debuts People:Power:- 25+ commissioned works from Convention Center expan- 2011 Place, a multi-year cultural artists across all disciplines, 1996 planning process to bring AAI formally incorporates as sion, AAI says goodbye to the After a large capital cam- including the Then and Now an independent non-profit Gilbert Building, our home of paign, AAI purchases our neighbors together to imag- exhibition, focused on explor- organization! Our Steering over 10 years! building at 1219 Vine Street, ine an equitable future for ing community-building and Committee reorganizes and and begins developing it as our changing neighborhood. community-engaged arts with recruits new members to form a multi-tenant facility. and within the Asian/American our founding Board. community in Philadelphia; and (ex)CHANGE, a series of site-specific projects respond- 2004 2008 2015 ing to the current dynamics of AAI also celebrates our 10th After multiple moves to AAI pilots a new model our communities in neighbor- Anniversary season with a interim spaces, AAI settles of community-engaged hoods around the city. timeline exhibiting The Art of into a newly renovated home curatorial process, which Community Building, a perfor- at 1219 Vine Street in China- culminates in the Sun- mance showcase, and town North/Callowhill. day Breakfast Dining Hall a giant birthday cake! Makeover and a toolkit for future projects. 4 Timeline Asian Arts Initiative 5 What We Want Is Here: Neighborhood Projects 2012—2018 Board that the organization has INTRODUCTION formed in the past year.) These examples from GAYLE ISA Asian Arts Initiative’s early years emphasize the responsive nature in which the organiza- tion’s programming has always evolved, as well as one of the core competencies of the orga- nization, which I recall artist “All development is local,” a funder who is now a board Kawaii) to share personal and family histories; and in Jeff Cylkowski once describing member advised me, as we were embarking upon the 1997, in partnership with the Asian American Youth Asso- as “unusually good at bringing campaign for Asian Arts Initiative’s multi-tenant building. ciation (AAYA), launched its Youth Arts Workshop, which groups of people together.” Both Her words have resonated throughout the years, and the has changed in shape and scale over the years—with of these dynamics are significant truth of the phrase is also relevant when describing our the Seeing Voices video project, GenerAsian Next teen to the development of Asian Arts organization’s practice of working in communities. theater, and a more current focus on visual arts—but Initiative’s neighborhood and In Asian Arts Initiative’s case, the organization’s has consistently continued to provide arts education for place-based work. founding—in 1993, in the wake of the Rodney King students from diverse backgrounds, from throughout verdict and the Los Angeles uprisings—was motivated the city. The focus on place: anchoring in response to concerns about racial tension. At that As its arts and community programming grew, ourselves in a neighborhood time in Philadelphia there really were only a handful of Asian Arts Initiative (with a team of staff and partners We generally trace Asian Asian American organizations, and no pan-Asian cultural including Julia Lopez, Magda Martinez, and Lori Sasaki), Arts Initiative’s creative place- organizations. So Asian Arts Initiative began its communi- recognized the need to cultivate more artists of color in making or placekeeping work ty-engaged practice with the ambition and belief that we the (even moreso than now) white-dominated field of arts to the Multi-Tenant Arts Facil- a “win win” situation similar to what the Reading Termi- would be able to speak to and organize our communities education, and pioneered the Artists and Communities ity, an ongoing project prompted by Asian Arts Initia- nal Market merchants had been able to achieve during through the medium/s of arts and culture. Training, or ACT, program, which hired small cohorts of tive’s forced removal from its former (affordable) home the Convention Center’s original construction; another I recently left my role at Asian Arts Initiative, after artists to participate in a series of workshops and a prac- to make way for the Pennsylvania Convention Center’s with Olive Mosier, our Program Officer at the William 25 years serving first as a volunteer intern and then tice teaching engagement to hone their skills in curricu- expansion; and which became an opportunity for Asian Penn Foundation, who ultimately made a $500k grant, as the Founding Executive Director. I have witnessed lum planning, classroom management, and artistic vision. Arts Initiative to position itself as an anchor and a hub of by far the largest Asian Arts Initiative had received to tremendous amounts of evolution, personally, organiza- Most importantly, the program offered many artists an cultural activity in the Chinatown North neighborhood. date, to seed a Multi-Tenant Arts Facility; and with the tionally, in the city, and in the world. In writing this intro- opportunity to decide if working in a community setting More on that in a moment. nonprofit developer Artspace, who was conducting a duction, I am hoping to share key moments from that was a good fit—or in some cases, not—for them. I also recall earlier conversations with local commu- separate study of space needs for artists and arts orga- history, as well as aspirations for what lies ahead. Another program was the Artists Exchange, a nity development and advocacy groups; and going to nizations in Philadelphia, but who determined that they teach-in of sorts to provide artists with an opportunity national conferences where I met and stayed up late did not have the capacity to pursue this project on our The early years: inherently engaged with our to learn more deeply about a community issue—and talking with friends about creative approaches to engag- behalf; and subsequently what felt like an infinite number community a mini-commission to create new work in response. In ing art and community. Later, those connections and of other local and out-of-town developers who we hoped Since its beginnings, Asian Arts Initiative has the first year, on the 20th anniversary of Vincent Chin’s interests afforded me and the organization another amaz- to learn from and/or partner with. always, instinctively and inherently, had a practice of murder, the program explored the broad theme of ing opportunity, to participate in the inaugural year of the Three years and two interim moves later, in 2008, working with communities. Even from the first presenta- anti-Asian violence. In later years, a particularly reso- Douglas Redd Fellowship program along with peers and Asian Arts Initiative opened its offices at 1219 Vine tions at Painted Bride Art Center (where we first started nant topic was Re:location, addressing artists’ role in mentors including Rise Wilson, Prerana Reddy, Luther Street; three years after that, in 2011, Asian Arts Initiative as a programming “initiative”), and Live Traditions / fighting or furthering the dynamics of gentrification and Gray, Lyz Crane, Esther Robinson, and Jeremy Nowak, was able to leverage the purchase of the building and Contemporary Issues festival (Philadelphia’s first ever displacement. who have become thought leaders in the fields of creative complete the next phase of renovations to invite an initial festival of Asian American art), artists and audiences Throughout, many of these projects and the major- placemaking—and who have influenced me and the cohort of tenants to move in and share the building with were engaged in dialogue with each other around broad ity of Asian Arts Initiative’s exhibitions and performance development of Asian Arts Initiative. us. A third phase of renovations was completed in 2014, issues of race and identity.
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