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Open Civcom Thesis Final.Pdf THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE INTERCOLLEGE PROGRAM COMMUNITY MURALS AS PROCESSES OF COLLABORATIVE ENGAGEMENT: CASE STUDIES IN URBAN AND RURAL PENNSYLVANIA ELODY GYEKIS FALL 2009 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art with honors in Civic and Community Engagement Reviewed and approved* by the following: Rosa A Eberly Associate Professor of Communication Arts and Sciences and English Thesis Supervisor Mary Lou Zimmerman Munn Senior Lecturer in Classics & Ancient Mediterranean Studies Honors Adviser *Signatures are on file in the Schreyer Honors College. i Elody Gyekis Community Murals as Processes of Collaborative Engagement: Case Studies in Urban and Rural Pennsylvania Schreyer Honors College Senior Thesis Abstract: This thesis uses three community mural projects—two in inner-city Harrisburg and the Valley Roots Community Mural project in Millheim, Centre County—to analyze the impacts of collaborative community art. Contemporary technologies and materials that maximized collaborative community engagement were utilized in the mural-making processes. Local residents provided the visions for the themes and guided the designs, filled in the paint-by-number panels of the murals, helped to install the murals, and celebrated the unveiling. Community meetings, painting sessions, and unveiling ceremonies for these projects became opportunities for intergenerational and cross- cultural dialogue and relationship building. I discuss responses to the projects and analyze of community feedback in relation to an in-depth literature review of public art projects and related topics in the arts, communication, and social sciences. My analysis of formal and informal participant feedback and media coverage reveals three categories in which the mural project was highly successful for those who were engaged in it: the generation of social capital, the creation of amenities, and personal inspiration. The completed murals are lasting public art pieces—visual tributes to a collaborative community vision and each community's pride in the diverse physical and cultural aspects of its location and history. i Table of Contents Abstract …………………………………………………………………….. i Acknowledgements …………………………………………………………….. v Chapter 1 - Public Art and Community Murals ……………………………... 1 I. Introduction ……………………………………………………... 1 a. Defining my Exigency ……………………………………... 1 b. Introduction to Public Art and Community Murals ……………... 3 i. Definition of Public Art ……………………………... 3 ii. Necessity of Public Art ……………………………... 4 iii. History of Murals ……………………………………... 6 iv. The Philadelphia Mural Arts Program and Cloth Murals ...7 II. A Note on Terminology - Defining ―Community‖ and ―Public‖ ……..10 III. Evaluating the Impact of Community Murals ……………………….14 a. Defining Success ……………………………………………. 14 b. Literature Review – What Previous Studies have Shown ……. 15 IV. This Study ……………………………………………………………. 26 a. Maximizing Community Involvement …………………… 26 b. Project Goals …………………………………………………… 27 c. Organization of this Thesis ……………………………………. 29 Chapter 2 - Allison Hill Murals …………………………………………… 30 I. KPB – Summer Internship in Harrisburg ………………………. 30 II. Allison Hill Demographics ……………………………………... 32 III. The Mural Projects in Harrisburg ……………………………….. 34 ii a. Shared Ministries Mural: June-August 2005 ……………. 37 b. Mulberry Street Bridge Mural: May 2005-August 2006 …… 38 c. Derry Street Anti-Violence Mural: June-August 2006 …… 40 IV. Public Discourse …………………………………………… 42 Chapter 3 - Millheim Mural …………………………………………… 43 I. Promoting Civic Health …………………………………… 43 II. How it all Began …………………………………………… 44 III. Introduction to Millheim …………………………………… 47 IV. Valley Roots Community Mural Project …………………… 49 a. Gaining Support …………………………………………… 51 b. Funding the Mural …………………………………… 52 c. Creating a Collaborative Community Design …………… 53 d. Paint-by-number technique …………………………… 56 e. Unveiling the Mural …………………………………… 58 V. Analysis of Community Response to the Mural …………… 59 a. Mural Unveiling Comments …………………………… 59 b. Feedback …………………………………………………… 67 c. Resistance to the Mural …………………………………… 68 Chapter 4 - Reflection and Conclusion …………………………………… 72 I. Reflecting on Millheim and Allison Hill …………………………… 72 II. Critical to Success …………………………………………………… 75 III. Conclusion …………………………………………………………… 76 IV. Suggestions for Further Research …………………………………… 80 iii V. Final Note ………………………………………………………………. 83 Works Cited …………………………………………………………………… 84 Appendix A – Personal Email from Kent Twitchell ………………………….... 90 Appendix B – How to Paint a Community Mural Document …………………. 92 Appendix C – Photos of Shared Ministries Mural ……………………………. 124 Appendix D – Photos of Mulberry Street Bridge Mural ………………….. 125 Appendix E – Photos of Derry Street Mural ………………………………….. 129 Appendix F – Conference Presentations ……………………………………… 130 Appendix G – Harrisburg Mural Projects in the News ……………………….. 132 Appendix H – Valley Roots Project Proposal Pamphlet ……………………… 134 Appendix I – PSU Publications and Websites Featuring my Mural Projects … 136 Appendix J – Valley Roots Community Mural Budget ………………….. 147 Appendix K – Valley Roots Community Mural, Designs and Final Product … 149 Appendix L – Mural Unveiling Comments ………………………………….. 152 Appendix M – Excel File of Sorted Comments ………………………………. 165 Appendix N – Public Discourse about the Valley Roots Community Mural …. 167 Appendix O – Re: Steve. ……………………………………………………... 184 Academic Vita …………………………………………………………………. 185 iv Acknowledgments: I would like to thank Rosa Eberly, my thesis supervisor, for all of her guidance and support. I would like to thank my friends and family for their endless encouragement and participation in my projects. I also would like to thank the hundreds of people who participated in my mural projects, especially the dozens of people who volunteered many hours helping me to organize, fundraise, create, and install the murals. I also would like to thank Keep Pennsylvania Beautiful, Young People For, The Centre County Community Foundation, the Schreyer Honors College, and all the contributing businesses and individuals for helping to fund the mural projects. v Chapter 1 – Public Art and Community Murals Introduction Defining my Exigency Even before the current economic recession, arts programs and funding for the arts have seen continual decline in my lifetime. Music and art classes are being cut from public high schools as we struggle to prepare our students for standardized tests instead of giving them a well-rounded education. One of the many programs cut from the 2009- 2010 Pennsylvania State budget was a program that had changed the course of my life: the Pennsylvania Governor‘s School for the Arts. Attending the Pennsylvania Governor‘s School for the Arts (PGSA) as a sixteen- year-old art student was the first in many steps that brought art-making and community- building passionately into my life. As a rural high school student who did not have access to a very large or challenging art program, attending PGSA was profound. Not only was I pushed in the arts, but I was also introduced to interdisciplinary collaboration and exposed to a community of passionate, creative, encouraging, and positive teenagers and adults. In this stimulating context, my peers and I began to blossom into the motivated and talented people that we had the potential to be. I went back to PGSA in the summer of 2007 as a Resident Assistant and a Teaching Assistant, four years after attending the program. Watching the program transform hundreds of other teenagers into driven, 1 passionate, and creative contributors to society was an even more enlightening and affirming experience than my first had been. After attending PGSA as a student in 2003, I wanted to be challenged beyond what my small public high school had to offer me, artistically, intellectually, critically, socially and spiritually. I left high school early and entered an early-enrollment program at Penn State, signing up for a full schedule of academic and artistic classes. The summer after my first year at Penn State, uninterested in working a familiar job in my hometown and looking for meaningful employment, I serendipitously stumbled across an internship organizing and designing community murals in inner-city Harrisburg. Shortly after sending an inquiry email, I was interviewed and accepted for the position. I had no way of knowing at the time that this experience would lead me to many years of being involved in community mural projects. After two years of projects in Harrisburg experiencing the profound effects of community mural projects, I was inspired to formally study the impacts of community murals. I decided to continue doing community mural work and to organize another community mural as a research project for my honors thesis in Civic and Community Engagement. This time I chose to work in my own rural hometown of Millheim, Pennsylvania, using what I had learned from my experiences in Allison Hill to maximize community involvement and interaction throughout the project. This thesis uses my community mural projects as case studies for an analysis of the impacts of community murals. The analysis focuses on community feedback gathered from the Millheim mural. The process of creating a community mural physically transforms the community involved with a collaborative work of art that is beautiful and represents a shared vision. 2 With the loss of funding for PGSA and the continual cutting of art programs of all kinds,
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