Philadelphia-Camden Cultural Participation Benchmarking Project Presentation of Neighborhood Survey Results June 14, 200

1. Philadelphia-Camden Cultural Participation Benchmarking Project Presentation of Neighborhood Survey Results June 14, 2005 Alan Brown 1

2. Methodology • Door-to-door intercept methodology (orally administered interviews) • Random sample of addresses in each of the five neighborhoods • Approximately 75% of all interviews were completed at listed addresses. • Culturally-appropriate approach to data collection • Point Breeze Performing Arts Center students, alumni and staff • A total of 602 interviews were completed between June and October 2004 – about 120 in each neighborhood. • 78 interviews (13%) were conducted in Spanish 2

3. Neighborhood Map 3

4. Who did we talk to? • Mostly females (between 65% and 70%) • Mostly younger adults (25 – 44) • High School education • Predominantly African Americans and Hispanics African- Hispanic or AmericanMixed Race/Other North Phil. – West 80% 9% North Phil. – Central 71% 15% North Phil. – East 34% 53% North Camden 26% 52% South Camden 39% 32% 4

5. What did we ask them? • Questions about community engagement • Questions about participation in: • music, dance, theatre, visual arts, literature and spoken word, media arts, other creative outlets • Awareness of specific arts programs • Connection to an artist/cultural leader • Desire to do more arts activities • Use of the Internet • Demographics 5

6. A framework for thinking about participation 6

7. Five Modes of Arts Participation, Based on Level of Creative Control NONE • Inventive Arts Participationengages the mind, body and spirit in an act of artistic creation that is unique and idiosyncratic, regardless of skill level. NONE NONE NONE AMOUNT OF CREATIVE CONTROL TOTAL AMOUNT OF CREATIVE CONTROL • Interpretive Arts Participationis a creative act of self-expression that brings alive and adds value to pre-existing works of art, either individually or collaboratively. • Curatorial Arts Participationis the creative act of purposefully selecting, organizing and collecting art to the satisfaction of one’s own artistic sensibility. • Observational Arts Participationencompasses arts experiences that you select or consent to, motivated by some expectation of value. • Ambient Arts Participationinvolves experiencing art, consciously or unconsciously, that you did not select. NONE 7

8. Participation Findings: Music 8

9. Curatorial is the Dominant Mode of Music Participation 9

10. What do you sing? R&B, Gospel, Latin, Hip Hop 10

11. Singing is both a social and solitary activity 11

12. Keyboard, drums and guitar are the most commonly played instruments 12

13. Community venues play a key role in the delivery system 13

14. Participation Findings: Dance and Theatre 14

15. Social dancing, film dominate dance/theatre participation 15

16. The home and nightclubs are venues for social dancing 16

17. Hip Hop, Ballet, Ethnic and Praise Dance are the types of dance performances mentioned most often 17

18. Community facilities also play a key role in dance and theatre participation 18

19. Participation Findings: Visual Arts & Crafts 19

20. Most respondents are involved at some level with visual arts 20

21. Observe the differences in art-making activities by gender… 21

22. … and by ethnicity 22

23. The context for doing art/craft-making activities is typically “by yourself…” 23

24. …and “at home” 24

25. What’s hanging on the walls in your home? • Four in ten respondents said they “display paintings, posters, photographs, or other art in your house.” • Among those who do, the most meaningful pieces of art in their home are: • Paintings, unspecified • Religious art (paintings, drawings, statues) • Family photos • Posters and photos of athletes and performers • Artwork by children 25

26. Home display of art is related to personal participation 26

27. Participation Findings: Other Activities 27

28. A third of respondents say they do creative writing, and almost all say they “read for fun” 28

29. What do you write? 29

30. Overall, levels of lifetime involvement in arts education activities are low 30

31. Significant other outlets for creative expression include the “living arts” 31

32. Other Key Findings 32

33. Community-based arts groups have a substantial footprint in the three N. Philadelphia neighborhoods 33

34. Only about one in ten respondents “know an artist or cultural leader” 34

35. Knowing an artist or cultural leader is a strong indicator of participation 35

36. Summary of Ideas 36

37. “Five Modes” Participation Profile, Five Neighborhoods NONE • Inventive – Key forms of inventive participation include making art and crafts, writing original poetry/rap, letters and diaries, and also gardening, cooking NONE NONE NONE AMOUNT OF CREATIVE CONTROL TOTAL AMOUNT OF CREATIVE CONTROL • Interpretive – Interpretive activities include social dancing, singing and rapping to music on the radio, but not much instrument playing • Curatorial participation is strong – collecting music, listening to radio, displaying art in the home, dressing creatively • Observational – some music, theatre attendance, also zoo/aquarium; much occurs in community venues, esp. free events • Ambient Arts Participation– not much data here, except for the ambient art that people create for themselves at home NONE 37

38. Summary of Participation Findings • One sees a clear emphasis on at-home cultural participation, both social and solitary • New emphasis on curatorial participation • Churches, community centers and outdoor venues are key parts of the delivery system • Significant differences in participation patterns across racial/ethnic groups • Radio is the dominant mode of music consumption • Many are active participants in the “living arts” • Few personally know artists or cultural leaders 38

39. Implications for Increasing Cultural Participation • Increase access to artists and cultural leaders at the neighborhood level • Invest in community-based arts programs and venues, including church arts programs • Home-based, self-directed arts activities • Access to musical instruments • Radio as a distribution channel • Different interventions for different racial/ethnic groups • The “living arts” are an opening • Participatory community cultural projects involving children 39