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Investigating the Geographies of Community-Based Public Art and Gentrification in Downtown Eastside, Vancouver

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Investigating the Geographies of Community-Based Public Art and Gentrification in Downtown Eastside, Vancouver Investigating the Geographies of Community-based Public Art and Gentrification in Downtown Eastside, Vancouver By Teréz Szöke A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Geography Guelph, Ontario, Canada ©Teréz Szoke, September, 2015 ABSTRACT INVESTIGATION THE GEOGRAPHIES OF COMMUNITY-BASED PUBLUC ART AND GENTRIFICATION IN DOWNTOWN EASTSIDE, VANCOUVER Teréz Szöke Advisor: University of Guelph, 2014 Dr. Kate Parizeau Infamous as Canada’s poorest postal code, Vancouver’s Downtown Eastside (DTES) is considered a blank slate fertile for urban redevelopment. In response to this narrative, visually expressive demonstrations and community-based public art (CBPA) actively reclaim urban space for its inhabitants, and boldly resist gentrification. This thesis advances scholarly understandings of the impact of CBPA by exploring artists’ intended impacts of CBPA projects and how they are interpreted in the minds of the public. Through semi-structured interviews and two consecutive circle discussions, I identified three significant social functions of CBPA in the DTES. The 301 surveys completed by passersby at three CBPA sites revealed that CBPA projects act as both a barrier and a conduit for gentrification. Key concepts that emerged throughout this thesis include: therapeutic landscapes and visual democracy. This research seeks to challenge dominant discourses that construct the DTES as a passive community subject to externally-prescribed solutions to local issues. iii Land Acknowledgement It is with honour and gratitude that I acknowledge that this research has taken place on the traditional territories of the Skwxwú7mesh (Squamish), selílwitulh (Tsliel-waututh, People of the Inlet), and xʷməθkʷəy̓ əm (Musqueam, People of the River Grass) Nations Figure 1: Indigenous Street Art in the DTES (Photos by Teréz Szöke. 2014) I acknowledge that it was through histories of violence and dispossession that Vancouver exists on the unceded lands of the Coast Salish Peoples. Today, social injustice and colonialism remain embedded in the structures of our society. Through this project I have aspired to remain accountable to this reality by conducting research in consultation with community leaders and Indigenous elders and by maintaining a reflexive awareness of my research presence, impacts, and practice. iv Acknowledgements I would like to begin by thanking the organizations and individuals in the Downtown Eastside that were encouraging and supportive of my work. Gallery Gachet and the Community Arts Council of Vancouver were welcoming and incredibly helpful in connecting me with the local arts community. I am also grateful to my research participants who openly shared their perspecitves and experiences during the interviews and discussion circles. I would like to express gratitude toward my academic advisor Dr.Kate Parizeau. Over the past couple years Dr. Parizeau has become an incredible role model, mentor, and friend. Her critical insight, unwavering encouragement, and positive reinforcement left me re-energized and excited to return to my project after every meeting. I would also like to offer my gratitude to my committee member, Dr. Roberta Hawkins. She is a very engaging and critical professor that encourages creative forms of learning. I am grateful for my external examiner Dr. Mervyn Horgan. Dr. Horgan and Dr. Hawkins took the time to very carefully read over my thesis, highlighted areas of strength, and provided invaluable suggestions for improvement. I have been very fortunate to have had the unwavering support of my loving family and friends throughout these past years. I am forever in debt to my mother Sophia Szoke and friend Kelly Hodgins for spending countless hours editing my entire thesis and providing brilliant advice for improvement. I would also like to sincerely thank my kindhearted friends who willingly volunteered their time to assist me in collecting 301 street surveys. Although this thesis holds my name on the cover it is truly the result of a great collective effort. I could not have completed this project if it were not for the support and involvement of those organizations and individuals mentioned above and many more left unnamed. v Table of Contents Abstract ........................................................................................................................................... ii Land Acknowledgement ................................................................................................................ iii Acknowledgements ........................................................................................................................ iv Table of Contents ............................................................................................................................ v List of Tables .................................................................................................................................. ix List of Figures ................................................................................................................................. ix List of Abbreviations ..................................................................................................................... ix Chapter One: Introduction ........................................................................................................... 1 1.1 Research Aim and Objectives ............................................................................................ 2 1.2 Thesis Outline ..................................................................................................................... 2 Chapter Two: Literature Review ................................................................................................. 4 2.1 Study Site Description: Vancouver’s Downtown Eastside ............................................... 4 2.1.1 A Short History of The Downtown Eastside ............................................................ 4 2.1.2 Community Demographics, Challenges, and Assets ................................................ 9 2.1.3 The DTES as a Therapeutic Landscape ................................................................. 12 2.2 Cultural Geographies of Public Art .................................................................................. 14 2.2.1 Public Art in Theory ............................................................................................... 14 2.2.2 Public Art in Vancouver ......................................................................................... 15 2.2.3 Top-down and Community-based Public Art ........................................................ 17 2.2.4 Community-based Public Art and Place-making ................................................... 19 2.3 Gaps in the Literature ....................................................................................................... 21 Chapter Three: Methodology ..................................................................................................... 23 3.1 Theoretical Framework .................................................................................................... 23 3.1.1 Community Engaged Research .............................................................................. 23 3.1.2 Critical Theory ....................................................................................................... 24 3.2 Ethics ................................................................................................................................ 25 3.2.1 University of Guelph Ethics Approval Process ...................................................... 25 3.2.2 Positionality ............................................................................................................ 26 3.2.3 The Insider/Outsider Continuum ............................................................................ 27 vi 3.3 Research Methods ............................................................................................................ 28 3.3.1 Pre-visit research and pilot visits ............................................................................ 28 3.3.2 Community Engaged Practice ................................................................................ 29 3.3.3 One-on-one Interviews ........................................................................................... 32 3.3.4 Discussion Circles .................................................................................................. 34 3.3.5 Public Street Surveys .............................................................................................. 36 3.3.6 Recording of Data .................................................................................................. 39 3.3.7 Data Analysis ......................................................................................................... 39 3.4 Challenges and Limitations .............................................................................................. 40 Chapter Four: The Sociospatial Impacts of Community-Based Public Art .......................... 42 4.1 Art as a Way of Knowing ................................................................................................. 42 4.1.1 Community-Art as Participatory Aesthetic Inquiry ............................................... 43 4.1.2 CBPA as Communicating with a Public Audience ................................................ 47 4.2 Place-making:
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