University of Pennsylvania ScholarlyCommons

Culture Builds Community Culture Builds Community Evaluation—1997-2002

2-2002

Culture Builds Community Research Brief: The Power of Arts and Culture in Community Building

Social Impact of the Arts Project (SIAP)

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Part of the Art Practice Commons, Civic and Community Engagement Commons, and the Urban Studies and Planning Commons

Social Impact of the Arts Project (SIAP), "Culture Builds Community Research Brief: The Power of Arts and Culture in Community Building" (2002). Culture Builds Community. 3. https://repository.upenn.edu/siap_culture_builds_community/3

Design, publication, and circulation of SIAP's Culture Builds Community research brief was done in collaboration with the Stockton Rush Bartol Foundation and with support by the William Penn Foundation.

This paper is posted at ScholarlyCommons. https://repository.upenn.edu/siap_culture_builds_community/3 For more information, please contact [email protected]. Culture Builds Community Research Brief: The Power of Arts and Culture in Community Building

Abstract This research brief was designed as a hand-out for broad circulation among community arts practitioners as well as advocates and funders of community-based cultural programs. SIAP research in Philadelphia demonstrates that community arts activity can be a driving force behind the revitalization of neighborhoods.

Culture Builds Community, an initiative of the William Penn Foundation, supported community arts programs in Greater Philadelphia from 1997–2001. Evaluation of this initiative, led by the Social Impact of the Arts Project at the University of Pennsylvania (SIAP), focused on the ability of these organizations to build their own capacity while strengthening their community.

Disciplines Art Practice | Civic and Community Engagement | Urban Studies and Planning

Comments Design, publication, and circulation of SIAP's Culture Builds Community research brief was done in collaboration with the Stockton Rush Bartol Foundation and with support by the William Penn Foundation.

This research brief is available at ScholarlyCommons: https://repository.upenn.edu/siap_culture_builds_community/3 CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN Culture Builds Community The Power of Arts and Culture in Community Building

Community art centers bustle with young people learning to dance or draw. Murals, public art and community gardens reclaim neglected spaces. Outdoor movies light up vacant lots on a summer night. Street fairs with theatre performances give voice to the issues of a community.

From New York’s Lincoln Center to Philadelphia’s programs can have a substantial impact on the Avenue of the Arts, we all have seen how cities have economic fortunes of their respective neighborhoods. utilized the arts as an economic development strategy. Large-scale institutions and cultural districts have • Cultural activity draws new residents into had a documented economic impact on previously communities, reducing poverty and increasing distressed neighborhoods. population. • Cultural participation and diverse communities But as you move off Broadway or Broad Street, are mutually reinforcing and tend to promote community arts can also be a driving force behind gradual growth rather than rapid gentrification. the revitalization of neighborhoods. Culture Builds • Culture creates a positive social environment Community, an initiative of the William Penn resulting in greater civic participation, lower Foundation, supported community arts programs in truancy rates and lower delinquency rates. Greater Philadelphia from 1997–2001. The evaluation • Cultural participation builds bridges across of this initiative, led by the Social Impact of the Arts neighborhood, ethnic and class divides in Project at the University of Pennsylvania (SIAP), ways that many other forms of civic focused on the ability of these organizations to engagement do not. build their own capacity while strengthening their community. At their best, community cultural organizations are anchors among a network of institutional and The research resulting from this evaluation and other personal relationships that contribute to strong work by SIAP shows that local cultural activity can communities. Partnerships among for profit and have as dramatic an influence on a neighborhood as a nonprofit organizations; arts, social service or planned cultural district or major arts institution. This religious institutions; artists, parents and neighbors influence is not primarily about tourists or jobs or even have the potential to create a vital “ecosystem” revenue. Nonetheless, clusters of small community where the arts and communities flourish. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COM Investin Your Community. Building on Cultural Assets

Strong neighborhoods must be built on a foundation Cultural activity draws new residents of community assets. Policy makers, researchers and into communities practitioners are no longer content just to catalogue a During the 1980’s, Philadelphia neighborhoods with community’s deficiencies — from drugs to illiteracy to an active arts scene (measured by the number of vacant lots. Instead, cities can uncover the assets that cultural providers within half a mile) were nearly are hidden in a neighborhood and put the full force of three times more likely to see their poverty rates these assets to work. decline and their populations increase.

Research by the Social Impact of the Arts Project This connection between culture and community (SIAP) points to participation in community-based vitality continued into the 1990s. While Philadelphia arts programs as a very effective, yet often underuti- lost a total of 65,000 people or about 37 residents lized, tool to build communities. In Philadelphia, per census city block group, this decline varied these organizations are usually small (with average greatly from one neighborhood to another, and budgets around $250,000) employing only a few these variations were strongly linked to cultural people. Although their direct economic impact may participation. Among census block groups with be small, the research indicates that community higher-than-average cultural participation rates, cultural programs can have a substantial impact on these neighborhoods gained an average of the quality and prosperity of their neighborhoods. nearly 20 people per block group.

The impact of culture on population 40 Neighborhood Revitalization and Cultural change held true across all types of urban neighborhoods. Notably, a low-income Presence, Philadelphia 1990–2000* neighborhood’s chance of population 30 growth more than doubled if it had a higher-than-average cultural participation rate. Older white ethnic neighborhoods, established African-American 20 neighborhoods, and emerging Latino areas all use high levels of cultural engagement as one way of attracting 10 new residents.

0 0 1–3 4–6 7 or more *Percent revitalized refers to percent of block groups that had their population increase and Percent Block Groups Revitalized 1990–2000 Revitalized Groups Block Percent Number of Cultural Providers within One-half Mile their poverty rate decline between 1990 and 2000. Cultural providers near block group Neighborhoods with an active cultural scene were refers to the number of cultural providers more likely to see their population increase and within one-half mile of block group. Source: SIAP 2002 inventory of cultural providers, their poverty level decline during the 90s. 1990 and 2000 U.S. Census, Summary File 3. MMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN C

Housing prices were also positively correlated with in cultural programs are also involved in a variety culture. Between 1995 and 2000, the average sale of activities in their communities from gardens to price of a home in Philadelphia increased by youth programs to religious organizations. This $10,000. By comparison, neighborhoods with many cross-participation is a critical connection between cultural organizations saw an average price increase culture and overall levels of civic engagement in of nearly $30,000. Philadelphia’s neighborhoods.

Among the most disadvantaged neighborhoods in Cultural participation and diverse Philadelphia, communities with high levels of communities are mutually reinforcing cultural participation have much lower rates of Neighborhoods that have high levels of cultural truancy and delinquency than other disadvantaged engagement are the most likely to be economically neighborhoods. Disadvantaged neighborhoods with and ethnically diverse…and vice versa… high cultural participation were four times more likely than average to have low delinquency rates. In neighborhoods with strong cultural participation, these boosts in economic fortune generally occurred without substantial gentrification. Places with a lively Cultural participation builds bridges cultural scene are more likely to experience slower, across neighborhood, ethnic, and more gradual redevelopment and emerge as diverse class divides areas with people of different economic and ethnic Approximately 80% of community cultural backgrounds living together as neighbors. participants travel outside their own neighborhoods to attend cultural events. These neighborhoods also tend to stay diverse over time with cultural organizations acting as anchors Unlike other forms of civic engagement, like a town that prevent diversity from becoming a transient state. watch or home and school association, people participate in cultural activities outside of their own neighborhoods. This “regional audience for Culture creates a positive community arts” reduces social isolation and builds social environment connections across historical divides of ethnicity Culture and other forms of civic engagement increase and social class. Arts and cultural activities give “collective efficacy”—the willingness of neighbors to disadvantaged neighborhoods a means to draw new protect their local quality of life. people into their community and offer something positive to the region. Even in neighborhoods in which poverty and unem- ployment are common, community involvement leads to a commitment to each other and to the strength of the neighborhood. People who participate

Culture Builds Community was a funding Who’s Who–What’s What initiative of the William Penn Foundation from Philadelphia’s neighborhoods have been at the 1997–2001 that supported 38 organizations center of research and support to investigate the providing access to exceptional arts experiences in links between cultural participation and the quality Philadelphia area neighborhoods. The multi-year of community life. grants were designed to support the programs and infrastructure of these organizations while building Community Arts: Arts and culture is not restricted their connections to the surrounding neighborhood, to large, regional institutions like museums or demonstrating that “culture builds community.” orchestras. Community arts provide access to high quality arts experiences through local institutions Social Impact of the Arts Project (SIAP), led by (like community art centers), non-arts community researchers Mark Stern and Susan Seifert of the centers (like recreation centers or Boy’s and Girl’s University of Pennsylvania School of Social Work, Clubs) and informal settings (like church choirs, conducted the evaluation of Culture Builds ethnically-specific dance companies or street Community. By building and analyzing a regional festivals.) database of cultural activity, the study assessed CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN

30 Child Welfare and Cultural Participation, A Dynamic Sector: Disadvantaged Neighborhoods, Philadelphia 1995–1999* Very low truancy Why 20 Very low delinquency Culture 10 Works

The collective impact of community cultural providers is far greater than their 0 Lowest 25% 25–49% 50–74% Highest 25% organizational capacity would suggest. In fact, Percent Economically Disadvantaged Block Groups Block Disadvantaged Economically Percent Regional Cultural Participation Rate many characteristics of the sector that are seen Neighborhood cultural activity, by pulling by funders and policymakers as deficiencies can residents into the life of the community, in fact be viewed as assets. benefit local children — even those who Community cultural organizations are never set foot in a community arts program. effective at serving historically excluded people in their communities. But, they also *Cultural participation data (1996–97), truancy (1997), delinquency (1995–99). draw people to the community and contribute Bars represent percent of all economically disadvantaged block groups whose to a positive image of their neighborhood. truancy and delinquency rates were in the lowest quartile citywide. • These organizations often lack a bureaucratic structure that would make them look more like a traditional community service organiza- Strong communities with a sense tion. But it is this flexible, responsive structure that is the envy of many businesses today. of “collective efficacy” that are Community cultural organizations are linked to one another through fluid; they are able to hear and respond to community needs quickly. the regional audiences for • At the same time, these organizations are community arts are the foundation experienced planners who can do a lot with limited resources. They are entrepreneurial of neighborhood revitalization. and proactive in identifying needs and building on assets. • Cultural organizations have their lights on with programs running in the evenings and statistical relationships between cultural opportuni- weekends when many other agencies are ties, cultural participation, and other community closed. Often the center is a gathering place outcomes. (Information: www.ssw.upenn.edu/SIAP.) for other community meetings and events. Stockton Rush Bartol Foundation supports • More and more, community cultural organiza- arts and cultural organizations in the city of tions are unofficial technical assistance and Philadelphia as it advocates for the role of arts content providers to schools, social service in building strong communities. (Information: agencies, recreation and after-school pro- www.bartol.org) grams seeking quality programs with strong curriculum and outcomes. The William Penn Foundation supports efforts to The impact of the arts goes beyond even the foster rich cultural expression, strengthen children’s economic or social values. The arts provide a futures, and deepen connections to nature and means for learning and creative expression, community. Founded in 1945, the Foundation is allowing a community a constructive way to give a Philadelphia-based regional grantmaker. voice to issues that may be controversial or divi- (Information: www.williampennfoundation.org) sive. Through the arts, citizens can engage these issues and emerge an even stronger community. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COM

The SIAP research points to important lessons for investing in community culture and building partnerships with community cultural organizations. Policy and Funding Building Partnerships Traditional views on cultural policy and funding do Neighborhood institutions are already linked by the not always take into account what we now know residents they serve. The next step is for these local about how the community cultural sector works. The agencies to become more conscious of how they can SIAP research points to new ways of thinking about work together to support communities. how best to support communities through culture. • Identify all the people and institutions providing • Build on the resources of the full community cultural services in a community and refer to those with the sector by including artists and cultural workers, expertise to meet specific needs. informal cultural organizations, for-profit cultural • When embarking on a partnership, find where your firms and non-traditional cultural providers. missions overlap to insure that you are advancing • View the cultural sector from the “bottom up”. As your organizations by working together, not new technologies, economic forces and changes diverting energy from your true work. in audiences force restructuring of the established • Build partnerships based on what each organization cultural sector, small organizations and informal has to offer in ways that are appropriate to the groups are likely to become the primary source of resources and needs of each partner. Share space, direct cultural and artistic experience. provide joint programs to community participants, • Build social capital by funding networks and or bring the arts to a range of neighborhood sites individuals, not just organizations. We can learn through satellite programs. from other comprehensive community initiatives • Commit to communication even when it seems that address all aspects of poor and disenfran- like you are speaking different languages. Most chised communities. Building leadership and frustrations with partnerships come from a lack of community organizing are strategies that can information or understanding that can be resolved work for the community cultural sector as well. if people are talking to one another. • Support intrinsic network building within the • Make your neighborhood a “destination” by community “ecosystem” rather than encouraging supporting arts programs that draw people into collaborations that chase funding. your community, bringing visibility, dollars and • Balance stability and innovation when pursuing excitement. cultural policy by valuing the innovation and creativity that are the foundation of community Partnerships among for profit and arts. Invest in emerging groups as well as provide continuing support for existing institutions. nonprofit organizations; arts, social • Build on the natural symbiosis of community service or religious institutions; arts and social diversity. artists, parents and neighbors have • Think broadly about who can add value to neighborhood initiatives when designing funding the potential to create a vital strategies or policy. “ecosystem” where the arts and communities flourish. Invest in Culture. MMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN CULTURE. INVEST IN YOUR COMMUNITY. INVEST IN C

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For additional copies for distribution, please contact the Stockton Rush Bartol Foundation, [email protected].

Support for this publication was made possible by the William Penn Foundation.