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sociology of the arts

Connecting Arts and Place

Cultural Policy and American Cities

ELEONORA REDAELLI
 Sociology of the Arts

Series Editors
Katherine Appleford
Kingston University London, UK

Anna Goulding
University of Newcastle, UK

Dave O’Brien
University of Edinburgh, UK

Mark Taylor
University of Sheffield, UK
This series brings together academic work which considers the pro-
duction and consumption of the arts, the social value of the arts, and
analyses and critiques the impact and role of cultural policy and arts
management. By exploring the ways in which the arts are produced and
consumed, the series offers further understandings of social inequalities,
power relationships and opportunities for social resistance and agency.
It highlights the important relationship between individual, social and
political attitudes, and offers significant insights into the ways in which
the arts are developing and changing. Moreover, in a globalised soci-
ety, the nature of arts production, consumption and policy making is
increasingly cosmopolitan, and arts are an important means for building
social networks, challenging political regimes, and reaffirming and sub-
verting social values across the globe.

More information about this series at

http://www.palgrave.com/gp/series/15469
 Eleonora Redaelli

Connecting Arts
and Place
Cultural Policy and American Cities
Eleonora Redaelli
University of Oregon
Eugene, OR, USA

ISSN 2569-1414 ISSN 2569-1406 (electronic)

Sociology of the Arts
ISBN 978-3-030-05338-3 ISBN 978-3-030-05339-0 (eBook)
https://doi.org/10.1007/978-3-030-05339-0

Library of Congress Control Number: 2018965769

© The Editor(s) (if applicable) and The Author(s) 2019

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse
of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and
transmission or information storage and retrieval, electronic adaptation, computer software, or by
similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are exempt
from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this
book are believed to be true and accurate at the date of publication. Neither the publisher nor the
authors or the editors give a warranty, express or implied, with respect to the material contained herein
or for any errors or omissions that may have been made. The publisher remains neutral with regard to
jurisdictional claims in published maps and institutional affiliations.

Cover image: © Manuel Ploetz/Alamy Stock Photo

This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
A Sara e Luca
 Preface and Acknowledgements

My engagement with the field of cultural policy began in my native

Italy. After completing undergraduate and graduate studies in phi-
losophy and music composition, I worked in the cultural sector in
Italy, promoting a variety of events, first in a small town in the north-
ern region of Brianza and later in the city of Milan. In Italy, the idea
of “territorio” is used by local administrations to refer to an approach
to cultural programming that gathers the community, helps it to dis-
cover a place’s hidden treasures, and presents innovative arts activities.
For example, I organized a series of classical concerts called “Europa
Musica” in various old churches in Brianza that presented renowned
classical musicians selected by an artistic director. These concerts
brought together people from the different towns in the area to experi-
ence beautiful music in beautiful surroundings.
When I came to the United States to study cultural policy, I noticed
that local administrations often frame their arts and culture program-
ming to enhance the idea of community. The conversation in cultural
policy emphasized the idea of community, analyzing the way it was used
to create connections between place and the arts. However, I did not
identify a discussion that brought place into consideration—at least,

vii
viii   Preface and Acknowledgements

not one that positioned it on equal footing with the evaluation of the
people who lived there. I believe that the richness of the concept of
“territorio” can be captured by the idea of “thirdspace,” outlined by the
urban theorist Edward Soja in his 1996 book of the same name. In this
book, I argue that looking at the spatial dimension of the arts, as artic-
ulated by the idea of thirdspace, helps us understand how the arts con-
nect with place and enriches the debate of cultural policy in America.
Since my doctoral studies, my research interests have revolved around
the arts and the American city. The city fascinates me as an experiential
place whose density, vibrancy, and layers stimulate an intellectual curi-
osity toward its hidden mechanisms. Moreover, for American politics—
and the country’s economy—scholars have pointed out recently that the
city represents where action happens and where people and administra-
tions experiment, take risks, and drive change (Katz & Bradley, 2014).
I have relished this opportunity to contribute to this debate—hoping to
encourage attention to the role that the arts play in this action.
This project has been unfolding over the years, as I have been explor-
ing the literature on cultural policy and investigating the different
concepts with great curiosity in all my projects since graduate school.
When reflecting on how these different themes came together during
the preparation of my tenure dossier, the idea of this book unfolded.
Sections of the book draw from my previously published work in
journals such as Cities, Policy Studies, Urban Affairs Review, including
experts by permissions of the publishers and material that has been fur-
ther analyzed for the purpose of this book, as noted through the overall
narrative.
Many people have helped me on this path. My friends and col-
leagues near and far, in particular Timothy Halkowski, Ann Singsaas,
Mark Eischeid, Doug Blandy, Gerardo Sandoval, Ben Clark, Jonathan
Paquette, Kye Dixson, Antonio Pietro Latini, Melissa Graboyes, Alfredo
Burlando, Anne van den Nouweland, Stephen Dueppen, and Daphne
Gallagher have always been available to talk through ideas and chal-
lenges. My graduate students Raquel Vargas Ramirez, Sarah Wyer, and
Joshua Cummins have assisted me with research that was sometime
tedious, but they never lost their enthusiasm. The editors of Palgrave
series Sociology of the Arts and the external reviewers have provided
 Preface and Acknowledgements   ix

insightful and helpful comments. My three writing buddies, Audrey

Lucero, Ilana Umansky, and Gina Biancarosa have organized delightful
writing retreats. Johanna Seasonwein has provided her invaluable edito-
rial assistance. My family and friends in Italy have always had words of
support.
To all of them my heartfelt thank you and my deepest gratitude.

Eugene, Estate, USA Eleonora Redaelli

2018
 Contents

1 Thinking Spatially in Cultural Policy 1

1 Cultural Policy Research 2
2 The Arts and the City 6
3 Thirdspace and Urban Cultural Policy 10
4 Book Overview 13
References 15

2 Cultural Planning: Positioning Arts and Place

in the Policy Discourse 21
1 Introduction 21
2 Theoretical Underpinning: Comprehensive Planning 22
3 A Brief History 25
4 Main Themes in the International Literature 27
5 Cultural Planning in American Cities 31
6 Madison, Wisconsin: Improving Participation Through
Spatial Information 38
7 Conclusions 44
References 45

xi
xii   Contents

3 Cultural Mapping: Location the Arts in a Place 49

1 Introduction 49
2 Theoretical Underpinnings: The Role of Maps 50
3 Cultural Mapping: An Overview 53
4 Main Themes in the International Literature 56
5 Cultural Mapping in American Cities 68
6 New York City: Mapping the Soul of the City 72
7 Conclusions 78
References 79

4 Creative Industries: Situating Systems

of Artistic Production and Consumption 85
1 Introduction 85
2 Theoretical Underpinnings: The Production of Culture 87
3 A Brief History 90
4 Main Themes in the International Literature 96
5 Creative Industries in the United States 106
6 Miami, Florida: Combining Economic
and Symbolic Value 112
7 Conclusions 118
References 118

5 Cultural Districts: Mixing the Arts

and Other Businesses 127
1 Introduction 127
2 Theoretical Underpinnings: Mixed-Use Areas 128
3 A Brief History 131
4 Main Themes in the International Literature 132
5 Cultural Districts in American Cities 139
6 Berkeley and Oakland, California: Comparing
Formal and Informal Arts Districts 144
7 Conclusions 148
References 149
 Contents   xiii

6 Creative Placemaking: Leading Social Change with the

Arts 155
1 Introduction 155
2 Theoretical Underpinnings: Placelessness and Placemaking 157
3 A Brief History 159
4 Main Themes in the International Literature 162
5 Creative Placemaking in the United States 170
6 Portland, Oregon: The Artists Making Places 177
7 Conclusions 183
References 183

7 Connecting Arts and Place in American Cities 189

1 American Cities 189
2 Thinking Spatially in Cultural Policy 191
3 Relevance for Scholars, Policymakers, and Arts
Practitioners 195
4 Suggestions for Future Research and Policymaking 197
References 200

References 203

Index 231
 List of Figures

Chapter 2
Fig. 1 Eighteen cities with cultural plans (USAF members) 32
Fig. 2 Madison’s NRTs and neighboring municipalities 42

Chapter 3
Fig. 1 The Queens Jazz Trail, 1998 (Courtesy Flushing Town Hall) 75
Fig. 2 Francesca Pasini, Reginapolis, 2010 (Courtesy Francesca Pasini) 77

Chapter 4
Fig. 1 Miami Beach Convention Center (Courtesy Alastair
Philip Wiper) 114

xv
xvi   List of Figures

Chapter 5
Fig. 1 Berkeley Repertory Theatre (Courtesy of Berkeley Repertory
Theatre) 145

Chapter 6
Fig. 1 Valerie Otani, Voices of Remembrance, 2004 (Courtesy
of TriMet’s Public Art Office) 182
 List of Tables

Chapter 1
Table 1 Book overview 14

Chapter 4
Table 1 Creative industries and higher education 95

Chapter 5
Table 1 Cultural districts: typologies and policy implications 133

xvii
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