Participatory Cultural Mapping: An Evolutionary Approach with a Revolutionary Picture in Mind by Saad Alzarooni

Participatory Cultural Mapping: An Evolutionary Approach with a Revolutionary Picture in Mind Saad Aqeel Alzarooni

Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Design Management at The Savannah College of Art and Design ÂŠ April, 2012, Saad Aqeel Alzarooni

The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created.

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Robert Fee _______________________________________________________________/___/___ Committee Chair (Sign here) (Date here)

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Participatory Cultural Mapping: An Evolutionary Approach with a Revolutionary Picture in Mind

A Thesis Submitted to the Faculty of the Design Management Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Design Management Savannah College of Art and Design

Saad Aqeel Alzarooni Savannah, Georgia April 2012

Acknowledgements First and foremost, I would like to thank my committee, Professors, Robert Fee, Christine Miller, and Susan Falls for their guidance in my research. Resounding thanks also go to Professor David Stivers for providing me with the necessary tools for writing the thesis project. I would also like to express my gratitude to all the informants for their time during the interviews, without their inputs it would not have been possible to conduct the research. Special thanks go to Jake Hodesh, Executive Director-The Creative Coast Savannah, for sharing with me his insights during the research. And lastly, thanks go to Mr. Ty Ross, City Administrator of Dalton for his collaboration throughout the cultural mapping project.

TABLE OF CONTENTS List of Figures……………………………………………………………………………1 List of Tables…………………………………………………………………………….2 Abstract ………………………………………………………………….………………3 Chapter One: Introduction………………………………………………………………4-9 Chapter Two: Literature Review……………………………………………………..10-22 Chapter Three: Methodology…………………………………………………………23-30 Chapter Four: Field Research……………………………………………………..….31-67 Chapter Five: Analyses and Findings……………………………………………...…68-79 Chapter Six: Design Concept Development……………………………………….…80-93 Chapter Seven: Conclusions and Future Directions………………………………….94-98 Bibliography………………………………………………...…………………..…..99-101 Appendix A: Interview Protocol…………..………………………………………102-104 Appendix B: Informed Consent Form…..………………………………..………….…105 Glossary of Terms........................................................................................…...............106 Biographical Statement…………………………………………………………….…...107

List of Figures 2.1-Literature Map of the Thesis Topic 2.2-The Research Case of the Literature Review 2.3-Main Elements of Cultural Mapping 2.4-Force field diagram of Participatory Cultural Mapping 2.5-Creative City Vision: Place, Culture and Economy 3.1-Strategy Design Process: Mindsets and Methods 3.2-The sequence of collecting and analyzing data 4.1-The most needed kinds of Cultural Activities according to the Interviewees 4.2-Framework for Community Assets Mapping 4.3- A Radial Venn diagram of Cultural Resources Framework 4.4- Stages of Mapping Process 4.5- Demographic and Racial Profile 4.6- Challenges facing Cultural Development 4.7- Response to the question: â&#x20AC;&#x153;why culture is important for the community?â&#x20AC;? 4.8- The Role of Culture as perceived by Research Participants 4.9- The most needed types of Culture Activities in Dalton 4.10- Number of Cultural Assets in Dalton 5.1- Data Architecture of Mapping Layers 5.2- Map of the Cultural Assets Network 5.3- Point Data Map 5.4- Clustering Map for Community Cultural Organizations 5.5- Clustering Map for Cultural Heritage 5.6- Clustering Map for Natural Heritage 5.7- Clustering Map for Creative Cultural Industries 5.8- Clustering Map for Festivals and Events 5.9- Clustering Map for Spaces and Facilities 5.10- Clustering Map for Other Related Resources 5.11- Clustering Map for Other Related Resources 5.12- Ground View of Cultural Resources 5.13-Street View Map 5.14-Direction Map 5.15- Input-Output Diagram of Digital Cultural Assets Mapping 6.1- Participatory Planning vs. Traditional Methods 6.2- Design Development Process 6.3- Data Architecture of a web-based Participatory Cultural Mapping 6.4- Relationship Diagram of Participatory Cultural Mapping 6.5- Control Input/Output Diagram of Participatory Cultural Mapping 6.6- A User Experience Storyboard 6.7- Information Flow Diagram for the Design Concept 6.8- Main social media tools of a web-based PCM 6.9- Mock-up design for a web-based PCM model 6.10- Mock-up design for a web-based PCM model for User 1 6.11- Mock-up design for a web-based PCM model for User 2 6.12- Mock-up design for a web-based PCM model

List of Tables Table 1. An Evolution of Cultural Planning Paradigms in City Planning Table 2. The Sequence of the Project Stages and Tasks Table 3. Demographic and Racial Profile Table 4. Cultural Inventory of Dalton Table 5. The Frequency of Symbols cited in the community survey-Question 1. Table 6. Frequency top Words of Places cited in the community survey-Question 3 Table 7. Frequency top Words of Places cited in the community survey-Question 4 Table 8. Approach for using the Data for Mapping Purposes Table 9. Summary Core Data for developing the cultural inventory Table10 Summary of benefits and shortcomings of the design concept

Participatory Cultural Mapping: An Evolutionary Approach with a Revolutionary Picture in Mind Saad Aqeel Alzarooni April 2012

Abstract This research explored the potential use of participatory cultural mapping to define the cultural assets of the community. The research was guided by these two objectives: first, to set up a baseline of information on cultural resources and to produce visual representation of these findings; and second, to develop recommendations for building the capacity for additional cultural mapping efforts in the community under study. The main question this research asked was in what ways the development of visual representations of cultural resources is valuable tool for place-based planning and decision-making? To address the research question, a mixed method was used which included in-depth interviews, online survey, focus groups, and document review. Research findings suggested a mapping model that encourages people to participate in cultural mapping and planning by using digital mapping applications and social media networks. The development of a digital cultural mapping process was articulated through â&#x20AC;&#x153;My Favorite Spotâ&#x20AC;?, a design concept for a web-based participatory mapping. This research has implications for city branding and tourism marketing and it contributes to the literature related to collaborative design and participatory planning.

Chapter One: Introduction The idea to write my thesis on cultural mapping was primarily exploratory in nature. In my research I view participatory mapping as tool for public participation and community engagement. I was particularly interested in exploring how design process and knowledge visualization can help develop innovative approach to cultural and community development. I chose to focus particularly on participatory cultural mapping because of its ability to inform evidence-based planning, and also for its benefits for cultural promotion and city branding. To narrow my topic further, I chose to focus on demonstrating a practical application of cultural assets mapping, concentrating mainly on introducing unified cultural resource frameworks to help city planners to get to the core of what is distinctive about their city. These components became the basis for my research questions. In this chapter, I firstly introduce the research context followed by explanation of cultural mapping methods. Afterwards, I discuss the research opportunity and the purpose of my research, followed by thesis statement and research questions. Finally, I end the chapter with the thesis structure. Research Context Within the field of cultural development there has been an increased recognition that cultural planning should operate within a broad and inclusive definition of culture, to include both the tangibles and the intangible elements. This movement was motivated by the desire of understanding its cultural landscape as resources for community and human development rather than merely products or commodities. This understanding has also led to concentrated attempts on the part of cultural planners to adopt an integrated and

strategic view of cultural assets.1 An equivalent philosophical shift involved the attention given upon community participation on the part of cultural planners. This attitude was rooted in the acknowledgement that good planning efforts are very much enhanced by the equal participation of all stakeholders.2 On the other hand, researchers in cultural policy and planning have advanced arguments supporting the vision of culture as a significant piece of the quality of life.3 Colin Mercer (2002), for example, argues that once people are aware of the cultural resources in their community; integrated planning to maintain and improve quality of community life becomes possible.4 Lia Ghilardi (2008) also adopts an integrated approach to cultural assets. She refers to cultural resources and anything that contributes to the culture of a particular place or people, whether it is tangible – a heritage building or intangible – a feeling of place.5 The cultural planning model and the inclusive perspective of culture in city planning can be traced to supporters; especially in Australia (e.g., Freestone and Gibson, 2006; Grogan and Mercer, 1995), Europe (e.g., Bianchini, 2006; Ghilardo, 2004; Matarasso, 1999), North America (e.g., Baeker, 2002; McNulty, 1991). Likewise, an increasing range of toolkits have also emerged to advocate the cultural sensitivity to place and people, such as; The Australian Guide in Cultural Planning (1995), Creative

European Cultural Foundation: Cultural Planning in The City of L’viv: Cultural Mapping. (Amsterdam The Netherlands: Centre for Cultural Management, 2008). http://www.eurocult.org (accessed July, 2011). 2 Jeff La Frenierre, “Mapping Heritage: A Participatory Technique for Identifying Tangible and Intangible Cultural Heritage”, The International Journal of the Inclusive Museum Volume 1, no.1 (2008); 98. 3 Hawkers, J., The fourth pillar of sustainability: Culture's essential role in public planning. (Melbourn: Cultrual Development Network, 2001). 4 Colin Mercer , David Engwicht, and David Grogan., Cultural Planning Handbook. (Queensland Australia: Allen and Unwin, 1995). 5 Lia Ghilardi "Cultural Planning and the Creative City." CIIPKU New Year Forum. (London: Peking University, 2008).

Community Builderâ&#x20AC;&#x2122;s Handbook (2006), Thames Gateway North Kent (2006) and Creative City Network of Canada (2007). Thesis Statement In todayâ&#x20AC;&#x2122;s knowledge-based economy, cultural planning requires innovative tools capable of linking contents related to culture, place and economic development. Just as city governments identify other valued community resources, like natural and institutional resources, cultural mapping method enables cultural assets to be recognized and integrated into the planning process.6 There is, however, a general concern among city planners about the lack of integrated frameworks on cultural resources (Greg Baeker, 2010; Karolina Ociepka, 2011; Municipal Cultural Planning Inc., 2010; Patricia Peters, 2007). There is also the myth of not having enough information to develop place-based planning initiatives. The reality is that we have so much data that has been collected by different organizations for different purposes, but they are disconnected from each other.7 Cultural mapping is about consolidating these different sources of information and presenting it in a consistent way. Purpose of the Research The research was guided by these two objectives: first, to set up a baseline of information on cultural resources in the city of Dalton and to produce visual representation of these findings; and second, to develop recommendations for building the capacity for additional cultural mapping efforts. The audience for this research is those who are involved with or interested in the cultural development. It will therefore be

Municipal Cultural Planning: Cultural Resource Mapping: A Guide for Municipalities. 2010 Greg Baeker, Place Vantage: Putting Cultural Mapping Principles into Practice. (Canada: Municipal Cultural Planning Inc., 2010). 7

of primary interest to planners, cultural workers, and community development professionals. Research Questions The research was guided by the following questions: 1. How do we get to the core of what is distinctive about a place? 2. What are the tools that will help us identify the unique cultural assets in the community? 3. In what ways does the development of visual representations of cultural resources become a valuable tool for place-based planning and decision-making? Research Opportunity The body of research examining the cultural mapping and its implementation is emerging, and there is a lack of studies that uses this method to visualize the spatial distributions of cultural assets in Dalton, the community under study. Therefore, this research addresses the need for more in-depth research on participatory mapping methodologies for the purpose of planning. Scope of the Research It is important to note that this research should not be read as an analysis of the built environment as visual culture. I am not analyzing the cultural landscape of the community, even though I provide visual representations of the cultural assets, which may assist us to better understand the cultural resources that are availabe in the community. Due to the studyâ&#x20AC;&#x2122;s necessarily narrow scope, its conceptual framework and analysis are introductory. This research is delimited and concentrated on developing a

design concept for increasing the public participation by enabling users to become active contributors to the cultural mapping and planning efforts for the city. Relevance to Design Management A study of the participatory mapping method is a design issue from several angels. First, the approach pays special attention to collaboration, dialogue, and participation. Second, by considering the human centered approach, the method can understand how these cultural assets can be turned into opportunities for human and community development from the end-userâ&#x20AC;&#x2122;s perspective.8Another key component in this thesis is the concept of visualizing the complexity surrounded the cultural resources. Knowledge visualization is a useful tool to discover the relationship between fact, and the context and connections that make this information more meaningful and relevant.9 This has inspired me to use participatory mapping as research tool to demonstrate how turn data into strategic insights, by visualizing the data generated from peopleâ&#x20AC;&#x2122;s knowledge about their cultural landscape. Value Proposition Cultural mapping can provide an opportunity for communities to get together to co-create a roadmap unique to their needs, aspirations and strengths.10 One of the advantages for using this method is that it allows getting a fresh perspective by looking at data from different points of view: cross cultural, public access, concentration, and

Creativity Network of Canada. Cultural Mapping Toolkit. (Toronto: PCA Associates, 2008). David McCandless: The Visual Miscellaneum: A colorful guide to the world's most consequential trivia. (New York: Collins Design, 2009). 10 Evans, G., & Foord, J. (2008). Cultural mapping and sustainable communties: planning for the arts revisited. Cultural Trends , 17 (2) 65-96. 9

networking. The resulting information can also be used to locate gaps, and identify peopleâ&#x20AC;&#x2122;s needs for cultural services and programs.11 Thesis Structure This research is divided into seven chapters. Chapter one the thesis introduced the research topic. Chapter two provides a comprehensive review of the related literature on the subject. The third chapter details the methodologies that were used to achieve the research objectives. Chapter four provided a description of the case study. The fifth chapter includes an analysis of the field study and a discussion on the results. Chapter six consists of the design concept development for web-based cultural mapping. The last chapter proposes recommendations and highlights the future research direction.

Municipal Cultural Planning Incorporated: Cultural Resource Mapping: A Guide for Municipalities. (2010). http://www.ontariomcp.ca/news/cultural-resource-mapping%3A-guide-municipalities (accessed: May, 2011).

Chapter Two: Literature Review This chapter begins with comprehensive overview of the topic of study. Then an introduction to the complexity surrounding the definition of culture is presented to address the research question: what do we mean by culture? The chapter also discusses the cultural sensitivity approach to places and people upon which the cultural mapping is based. Overview of the Topic of Study To perform the literature review, I summarized the initial sources as an annotated bibliography. This step was important especially at the early stage of this research to understand the breadth of the topic. A literature map was also created to establish common themes of the research. The literature review was categorized according to the two main streams of preliminary research: cultural planning and cultural mapping. To clearly define the topic I focused on the literature that addresses the need for integrating culture in planning and development. The central questions this review of literature asked were: To what extent do cultural planning and mapping contribute to a more comprehensive understanding of the complexity surrounding the cultural resources? And, in what ways the development of visual representations of how people perceived their cultural resources is a valuable tool for planning and managing the cultural resources? To answer these questions, I looked at the guiding principles and applications of cultural mapping and creative city planning frameworks. My purpose for the review is to present the need for adopting a collaborative design approach and the holistic view to place, people and economic development. The central question which informed my study was in what ways the development of visual

representations of how people perceived their cultural resources is a valuable tool for place-based planning and managing cultural resources? By answering this question, it is my hope to contribute new insights to the literature in this specific field of research.

2.1-Literature Map of the Thesis Topic There has been an increased recognition in the literature about the importance of cultural capital for the economy of cities and the ways in which culture can bring extensive benefits, especially enhancing the image and the brand of places.12 Cultural planning, as presented by Authnticity, a leading economic development cousulting practice has the following implications:13 1. Mapping establishes a base of information to support evidence-based planning that promots the distincitve cutlrue of the community. 12 13

Municipal Cultural Planning. Ibid. Municipal Cultural Planning Incorporated. Ibid. 2010.

2. Mapping enhances access to information on local cultural resources for residents and visitors and provides a platform for marketing and promoting these resources. 3. Mapping can enhance access to the actual content of the culture of a particual place through interacting with web-based maps the enable the user to find information about local cultural assets. The Research Case of the Literature Review I used implicative reasoning to reach to the conclusion about the cultural mapping method as research case for investigation. Implicative reasoning, by definition, is “a logical interpretation of evidence to produce propositions that signal a specific conclusion”.14 In this review, the literature critique arguments appear in sequence making “if...then...” cases: 

If cultural planning professionals want to better plan for future cultural development in the local community, then they should consider the potentialities of the cultural mapping method when assessing the cultural resources.



If city planners want to think culturally about place and people, then the cultural planning approach should be taken into consideration when assessing the local cultural assets.



If city planners want to effectively plan and manage cultural resources in the community, then they should consider the cultural mapping method to capture the local issues and matching them to the people’s needs and desires.

Lawerence A. Machi and Brenda T. McEvoy: The Literature Review. (Thousand Oaks: Corwin Press, 2009).106

As explained Lawerence and McEvoy (2009), in the research case of the literature review, the complex claims justified in the argument of discovery are the foundational evidence for the advocacy argument of the literature critique. The two arguments connect the claims from the literature survey to the conclusions drawn from the literature critique.15 The following diagram presents the two arguments that make up the case for the literature review in this thesis. It describes how chain reasoning builds an “if…then…” connection to build the arguments that make the case for the literature review.

2.2-The Research Case of the Literature Review. (Lawerence and McEvoy, 2009)

Culture: What do we mean by it? Raymond Williams (1983) calls culture one of the most complicated words in English language. He suggests three broad definitions. First, culture can refer to a general

Lawerence and McEvoy.Ibid.2009

process of intellectual, spiritual and aesthetic development. Culture might be used to suggest a particular way of life, whether of a people, a period, or a group. Finally, he suggests that culture can be used to indicate to the practices of intellectual activity especially artistic creativity.16 “Culture includes all the institutionalized ways and the implicit cultural beliefs, norms, values and premises which underline and govern conduct”17 Culture also has been defined as it embraces the values, attitudes, beliefs, orientations, and underlying assumptions that exist among people.18 It implies a logical relationship between every aspect of life.19 This is precisely the concept of culture adopted by the United Nations Educational, Scientific, and Cultural Organization

(UNESCO): “Culture is a fundamental component of the vitality of any society; it is the sum total of a people’s creative activities, its methods of production and appropriation of material assets, its form of organization, its beliefs and sufferings, its work and its leisure, its dream and its success”.20 Unfortunately many people associated the term culture with a sense of refinement or something extra or special. It becomes associated with art and the work of highly skilled artists and the institutions that promote it as pure product.21 But Culture can also understood as embracing all creative activity, not only the high or elite arts but also a people’s culture as well, to include a variety of human, physical, intellectual, and spiritual activities and experiences. As Grogan and Mercer (1995) put it in their handbook for 16

John Storey: Cultural Theory and Popular Culture: An Introduction. (London: Henry Ling Ltd., 2009). th Ove Granstrand: Cultural Differences: Working a cross cultural differences Presentation at the EITIM 5 annual Senior Management Forum, University of Cambridge, UK., 2009. 18 Thomas Borrup: Creative Community Builder's Handbook: How to Transform Communities Using Local Assets, Arts, and Culture. (Canada: Fieldstone Alliance., 2006). 19 Pierre Pascallon and Clermont Ferrand: The Cultural Dimension of Development. (Intereconomics. January/February. Volume 21, Number 1, 38-45. 1986). 20 Pierre Pascallon: The Cultural Dimension of Development. (United Nations Educational, Scientific, and Cultural Organization. 1982), 25. http://unesdoc.unesco.org (accessed March, 2010). 21 Borrup, 11. 17

cultural planning: “the cultural life of a community is not just about a few people going to the opera. It is about participation, celebration, identity, belonging to a community and having a sense of place”.22 In this sense, culture can be described as anything that contributes to the culture of a particular place or people. It may be something tangible or it may be intangile to include the following:23 1. The visual, performing and literary arts, skills and practices. 2. The contemproray cutlural industries and the instituations associated with them. 3. Specialitst crafts such as jewellery and ceramics. 4. The strucurtes and skills for managing and marketing of cultural products. 5. The positive presence of ethnic and cultural diversity. 6. Historical, artistic, archaeological and anthropological heritage. 7. Humanly created landscapes such as park systems, streetscapes and town squares. 8. External image percieved by visitors and the sense of identity perceived by the locals. 9. The quality, diversity and vitality of community life. 10. The attractiveness and accessbility of streets and public spaces. Cultural Mapping – What is it? Cultural Mapping is a systematic approach to identifying a community’s cultural resources in order to describe and visualize them.24 Cultural resource mapping begins with building and maintaining a centralized database that helps to organize and communicate information. It is about building a geo-cultural database, meaning that 22

David Grogan, Collin Mercer, and David Engwicht: Cultural Planning Handbook. (Queensland Australia: Allen and Unwin., 1995). 23 Ibid, 13. 24 Municipal Cultural Planning Incorporated: Cultural Resource Mapping. : A Guide for Municipalities. (Ontario: Canadian Urban Institute, 2010). www.ontariomacp.ca (accessed April 2011).

whenever possible, the information includes a geographic reference point. 25 The Creative Cities Network of Canada defines cultural mapping as “a comprehensive identification and analysis of a community’s cultural resources and needs gathered through a broadly based consultative process”.26 According to this definition, the tool covers everything from ground-based participatory research to sophisticated mapping techniques by using the Geographic Information System. This method has also been recognized by the UNESCO as a crucial tool in preserving the world’s intangible and tangible cultural assets, and in fostering collaboration across a wide range of stakeholders that can influence the political sphere and encourage suitable public policy-making.27 Historically, cultural mapping was used within the field of anthropology. It was first used as a political tool that evolved as a means to capture and present the history of native people or to describe their traditional activities within a given territory. It has since been used, in less politically charged situations as a tool for social and economic development. Currently, cultural mapping is associated with a movement to democratize culture and expand its definition to be more focused on formulating a cultural plan and viewed as the foundation and a definitive feature of cultural planning. 28 As described in the cultural mapping toolkit, the three main components constituting the cultural mapping process are identified as follows29: 1. Cultural mapping — a process of collecting, recording, analyzing and synthesizing information to describe the cultural resources, networks, links and patterns of usage of a given community or group. 25

Ibid. Creativity Network of Canada, 6. 27 Ibid. 28 Creativity Network of Canada, Ibid. 8. 29 Ibid. 26

2. Cultural inventory — a list or database of information about cultural resources and assets. 3. Cultural map — a report on the findings and conclusions of a cultural mapping process. The notion of tangible and intangible culture is also built upon in cultural mapping process. This broader and inclusive understanding of culture classifies two types of mapping:30 1. Asset Mapping – identifying and recording tangible cultural resources like art and cultural organizations, festivals, historical sites, and museums. 2. Community Identity Mapping – exploring intangible cultural resources – the unique stories and traditions that define a community’s identity and sense of place.

2.3-Main Elements of Cultural Mapping

Municipal Cultural Planning Incorporated: Cultural Resource Mapping: A Guide for Municipalities. (2010). http://www.ontariomcp.ca (accessed: May, 2011).

To Map or not to Map that is the Question One of the advantages for participatory cultural mapping is that the process allows getting a fresh perspective by looking at data from different points of view: cross cultural, public access, concentration, and networking. However mapping can be a demanding process and feasibility is something that needs to be considered. Does the organization have the money, time and human resources to carry it through? A good question to ask before carrying our any mapping project is whether mapping would be the most useful approach.31 The force field diagram, in the following page, gives an overall picture of pros and cons of the proposed idea for research investigation. This diagram identifies points that represent the driving forces and the restraining forces. Each force is shown as an arrow, 'pushing' either in the â&#x20AC;&#x2DC;driving' or â&#x20AC;&#x2DC;restraining' direction. Each of these arguments has a different weight shown by the thickness of the arrow.

2.4-Force field diagram of Participatory Cultural Mapping

Creativity Network of Canada, Ibid.

Cultural Planning Approach Putting culture in the center of urban planning is not a new idea. Planning, as a modern profession was the product of late 19th and early 20th century visionaries such as Patrick Geddes and Lewis Munford whose views of cities are similar to those articulated by Jane Jacobs and others many decades later.32 The roots of cultural planning derived from Patrick Geddes (1925), Scottish biologist, sociologist and pioneer in town planning indicted that planning is not a physical science but a human science. Geddes insisted that all planning must take into account the three fundamental coordinates of folk, work, and place.33 Thus, in order to think strategically about how cultural resources can help planners to reach its civic goals, planning and design efforts require three types of expertise: anthropologists who are specialists in the culture of the place, economists who understand the local economies, and finally geographers who specialize in the building and natural environment of the place.34 The cultural dimensions of urban planning strategies emerged out of Europe in the 1960s and 1970s as cities and towns faced changing economies and demographics.35 The following table illustrates an evolution of physical, economic, and cultural planning paradigms, which attempt to engage local communities in the political context of city and regional level planning. It shows the key approaches to cultural planning that have emerged over years.

AuthentiCity: Creative City Planning Framework: A Supporting Document to the Agenda for Prosperity: Prospectus for a Great City. (Toronto: Pauline Couture, PCA Associates.) 2007. http://www.toronto.ca/culture/pdf/creative-city-planning-framework-feb08.pdf (accessed April 2011). 33 Collin Mercer: Cultural Planning for Urban Development and Creative Cities (2006). http://www.culturalplanning-oresund.net/PDF_activities/maj06/Shanghai_cultural_planning_paper.pdf (accessed September, 2010). 34 AuthentiCity. Ibid. 35 Graeme Evans and Jo Foord, 71.

Table 1. An Evolution of Cultural Planning Paradigms in City Planning. (Source: Graeme Evans and Jo Foord 2008). Creative City Planning Framework The cultual planning approach is about exploring the interrelatedness and the opporutnies that can emergerd between place, culture, and economy. Cultural planning, as Lia Ghilardi puts it, is a method that implies an understanding of the local cultural ecology and resources. It is about identifying the urban and cultural DNA of the place and matching them to local needs and contexts. 36 This approach then is not about developing and implementing a cultural policy for a city, it is instead, a creative approach for identifying the uniqueness of a place and integrating them into the cultural local

Lia Ghilardi: Cultural Planning and Cultural Diversity. Council of Europe Copenhagen (London. Noema Research and Planning Ltd., 2004).

development plan.37 The Creative City Planning Framework is guided by the priciple that the success in attracting a class of creative workers make the quality of place a core competitive advantage of cities around the world.38 The current research adoptes the Creative City Planning Framework (CCPF) used by the city of Toronto as one component of the agenda for new economic development strategy.39 The underlying assumptions of this framework are based on how culture could be more fully and strategically integrated in the city planning process. This approach reflects the same principles and planning assumptions that underline the creative economy. It maps three broad areas of planning: place, culture, and economy. These are there are three main areas for design opportunities that can emege from the framework. These opporunities are tuned toward branding and place competitiveness, and also toward creating an authentic urban environments that are capable of attracting creative people. This creative workforce who come to work in the city can, in turn, generate wealth, considering the knowledge based-economy we are living in today. 40 The diagram below represents the main elements that makes up the framework for creatrive city planning.

37 Franco Bianchini: A crisis in urban creativity? Reflections on the cultural impacts of globalization. Paper presented at the international symposium. The Age of the City: the Challenges for Creative Cites, Osaka, February 2004. http://www.artfactories.net/IMG/pdf/crisis_urban_creatvity.pdf (accessed September, 2010). 38 AuthentiCity, Ibid. 22 39 AuthentiCity: Creative City Planning Framework (Toronto: Pauline Couture, PCA Associates, 2008). http://www.toronto.ca/culture/pdf/creative-city-planning-framework-feb08.pdf (accessed September 2010). 40 Richard Florida: The Rise Of The Creative Class: And How It's Transforming Work, Leisure, Community And Everyday Life (New York, Basic Books, 2002).

2.5-Creative City Vision: Place, Culture and Economy (AuthentiCity, 2008).

Chapter Three: Research Design and Methodology Where the former chapter focused on what has been said in the literature about the thesis topic, the current chapter illustrates what choices have been made to complete this research. In this chapter the approach toward my research is described. Then the research strategy of a single case study is discussed. After that, the chapter describes the methods that have been applied for gathering and analyzing data. The chapter ends with a description of research ethics. Background As I stated in the introductory chapter, the central aim of this study is to set the data foundation of cultural resources for the community under study. This directs the research to the descriptive approach, aiming to describe and analyze the research puzzle by relaying on both the qualitative and quantitative data. The approach I took to perform this research was blended in nature â&#x20AC;&#x201C; a combination of both qualitative and quantitative methods. Mixed methods strategies such as in-depth interviews (qualitative data), were combined with online community surveys (quantitative data).41 These qualitative and quantitative data can be used side by side to support each other in discussing the results.42 Abductive Approach To work with both the theoretical and empirical information, I intended to pursue the abductive approach to problem solving. When applying an abductive approach the researcher uses the empirical facts as a knowledge base for the argument but does not

Sieber, S.D: The integration of field work and survey methods. American Journal of Sociology, 78, 13351359. 1973. Quoted in: John W. Creswell: Research Design: Qualitative, Quantitative, and Mixed Methods Approaches. (Thousand Oaks: SAGE Publications Inc.) 2009. 42 Creswell. Ibid. 14

reject the earlier theoretical pre-conceptions.43 Applying the abductive approach helped me as a design researcher to explore significant design opportunities while focusing on creating convincing design concepts with potential for business success. In using this approach, my goal was to develop a deeper understanding of the end-user and propose an innovative design concept for a web-based participatory cultural mapping and planning for the city. In order to develop a conceptual model for my research based on the abductive approach, I used the model for strategy design process. The diagram below demonstrates the strategy design process. This process is continuous and iterative, and does not start and stop, but rather allows for interaction and collaboration.44 See figure 6.

3.1-Strategy Design Process: Mindsets and Methods (Modified after: Thomas Lockwood, 2010).

Douglas Ezzy: Qualitative Analysis: Practice and innovation. (Taylor & Francis Ltd.) 2002. Thomas Lockwood (ed.): Design Thinking: Integrating Innovation, Customer Experience and Brand Value. (New York: Design Management Institute- Allworth Press). 2010 44

Research Strategy (Case Study) Case studies have been used for a wide range of purposes within social and design research. Predominantly, they have been used in direct relation to the discovery of information.45 I choose to apply a case study as a research strategy for this thesis. This strategy works best when the researcher wants to investigate an issue in depth and provide an explanation that can cope with the complexity of situations.46 In my research I am studying the process involved in initiating a participatory cultural mapping and the complexity surrounding the visualizations of culture, both tangible and intangible. The case study is also a strategy that goes well with the descriptive nature of this exploratory research. Therefore, a single case study was the most appropriate strategy for carrying out this research, which also contained elements of desk research and site visits. Also, within the time constraints for this thesis project it was not feasible to perform a longitudinal study or multiple cases. There were two reasons for choosing the city of Dalton as the case study of this exploratory research. Firstly, the case study fits the research question and purposes. Secondly, the feasibility of access to information through the city council and the received support and enthusiasm toward performing the cultural mapping for the case study was also a contributing factor. Data Gathering To add more in-depth to the quality of the research, different data collection methods were used. I used face-to-face interview, focus group, online survey, and

Martyn Denscombe: The Good Research Guide for small-scale social research projects. (England: Open University Press). 1998. http://valsciedu.weebly.com/uploads/2/7/9/1/2791482/the_good_research_guide.pdf (accessed January 2011). 46 Ibid

document reviews and site visits. I also used the quantitative data available online through U.S. Census Bureau and American community survey websites. As explained by Creswell (2007), using multiple methods for data gathering can increase the chance to make appropriate and valid generalizations as well as improving the construct validity and instrumentation of the research.47 In-depth Interview Data collection was undertaken through face-to-face interviews with research participants to capture the general perspectives on the cultural atmosphere in the community. Since conducting interviews were necessary sources of developing case studies, I then conducted a total of fifteen in-depth interviews at different stages during this research. Having established the literature, an interview protocol was used for recording information obtained during the interview sessions. The interviewees were also informed about the purpose of the interviews and the overall objective of the study through informed consent form. And finally, issues of confidentiality of information were introduced and clarified. The interview instrument included these open-ended questions: 1. What does culture in our community mean to you? 2. What are the key strengths and assets of our communityâ&#x20AC;&#x2122;s cultural environment? 3. What are the critical issues (needs or gaps) facing communityâ&#x20AC;&#x2122;s cultural planning efforts? 4. How can arts and culture be used to help make the community a more vibrant place? 5. What are your hopes for cultural development in our community? 47

Creswell. Ibid.

6. Are there any other comments or observation regarding arts and cultures in the community that you would like to share? 7. Are there other community development issues, e.g., special population needs that could or should relate to the cultural planning vision for the community? Focus Group A mini focus-group session took place in Dalton City Hall on May 3rd, 2011. The focus group session was aimed at bringing together different stakeholders in one setting to discuss and to put together a cultural inventory of the city. The participants were selected purposefully for their knowledge and experience with cultural and community development. During the session I used various materials to stimulate and encourage discussion on the topic, e.g. presentation materials, maps, example of other cultural mapping projects, and assets mapping exercise. The purpose of designing the focus-group session was to introduce a unified approach of categorizing information about the available cultural resources in the community. Online Community Survey One of the main objectives of the research was to capture the collective identity and â&#x20AC;&#x153;sense of placeâ&#x20AC;? in the community under study. With the purpose of mapping the intangible culture and as an attempt to facilitate public participation in the mapping process, I have designed an online community identity survey and invited the public to identify the symbols, images and stories that indicate something important about what makes their community unique. The survey was circulated through the distribution networks of organizations, and distributed in coordination with Dalton city council. Document Review and Site Visits

To become familiar with the community under study, numerous documents were reviewed. These included the cityâ&#x20AC;&#x2122;s official documents, the Community Development Block Grant (CDBG) and a consolidated plan for 2009-2014 that was shared with me during the field research. This also included a review of the official city website (www.cityofdalton-ga.gov) to look for statistics related to economic development opportunities, city records, and tourism data. Gathering other forms of artifacts like posters and advertisements about historical and cultural attractions in the city was also part of the review process. The review helped me better understand the context of the research. As a result, I conducted the interviews with a good background about the community and with more appropriate interview questions. To better understand the contextual conditions of the project I have also carried out a number of site visits to cultural and historical attraction around the city. These included observations taken from places included the downtown area, the museum at the Tunnel Hill Heritage Center, The Emery Center museum and others. Further, I have attended city council meetings and a community forum at the Economic Development of the Dalton-Whitfield Chamber of Commerce. Data Analysis I based my analysis on the three qualitative data analysis introduced by Miles & Huberman (1994):48 data reduction, display and conclusion drawing and verification.

Matthew B. Miles, A. Michael Huberman: Qualitative Data Analysis: An Expanded Sourcebook (2nd Ed.)1994. http://www.nsf.gov/pubs/1997/nsf97153/chap_4.htm (accessed February 2011).

3.2-The sequence of collecting and analyzing data The data reduction step consists of selecting, simplifying, abstracting, and transforming the data in field notes and/or transcriptions.49 Data reduction occurred while specifying the case study and gathering data by summarizing significant comments of the interviews.50 Furthermore, data reduction happened when narrowing down the theoretical concepts of the thesis. The second qualitative analysis step in the analysis is data display. In this research, I demonstrated the gathered data thorough figures, tables and visual maps to help communicate the information more easily and clearly. Once the full data was collected, an analysis was undertaken to determine specific needs of map making. Throughout the data analysis process I categorized data to identify patterns and themes from the perspectives of the participants. To ensure internal validity, I have triangulated my sources for data gathering. I have also shared the results with the participants in the mapping session to ensure an ongoing dialogue regarding my interpretations. To ensure reliability, data collection and analysis strategies were reported in detail to provide a clear picture of the methods used in this study. All phases of this research were also subjected to review by members of thesis committee who are experienced in the qualitative research methodologies.

49 50

Ibid Ibid.

Data produced from the key informant interviews was used to support the concept design. These interviews provided qualitative information that lead to a better understanding of the cultural assets and its role in community’s development. Qualitative analysis for focus group sessions helped in terms of understanding the issues from the people’s perspective in context of their view of cultural assets which I used as a big umbrella for the concept design development. As far as validity issues, it is important to recall the purpose of qualitative research that is to study and describe things in such depth and detail, and form such multiple perspectives and meanings. In this sense, the representativeness of focus group members was questionable.51 As far as the online survey research, this kind of research is generally weak on validity and strong on reliability.52 Standardized questionnaire items often represent the least common denominator in assessing people’s attitudes, circumstances, and experiences. Combining qualitative research methods with survey research methods allowed me to take advantage of the strengths of survey research while off setting its weaknesses as far as missing social context and questionable validity. Research Ethics In view of the ethics of ethnographic research, the study addressed the importance of confidentiality of the subjects. The following safeguards were employed to protect the informant’s rights, first, the research objectives were articulated verbally and in writing so that they are clearly understood by the research participants, and secondly, informed consent forms were received from participants. And finally, written interpretations and reports were made available to the research informants.

51 52

Rubin and Babbie, Ibid. Rubin and Babbie. Ibid

Chapter Four: Field Research This chapter is divided into three parts. In the first part I describe the preliminary in-depth interviews I performed at the early stage of this research to have broader understanding about the topic. The second part describes the rapid workshop design and the testing results from the community assets mapping exercise sessions that were conducted with SCAD students. In the third part of the chapter I illustrate the case study of cultural mapping that took place in the city of Dalton. Part I. In-depth Interviews A pilot interview was carried out with individuals from Savannah in the state of Georgia. This pilot interview shaped the direction of the research. The focus at the early stage of this research was to capture people’s opinion on how to leverage community’s cultural resources. For this particular research task I have carried out series of interviews with individuals who are involved with community advocacy and cultural development in the city. This was done to obtain more detailed on-site information regarding cultural atmosphere and to learn about cultural issues, vision, and needs. The interview candidates were selected purposefully for their knowledge and experience with cultural and community development. The interviews were conducted between January and March of 2011, and consisted of a series of open-ended questions regarding the city’s cultural atmosphere in the community. The interviewees were asked to comment on specific aspects of the community’s strengths and to elaborate on some of the major and critical issues facing the community’s cultural development and planning efforts. Those interviewed included: Jake Hodesh, Executive Director-The Creative Cost, Tom Kohler, Coordinator and Executive Director of Chatham Savannah Citizen

Advocacy, and finally Kristin Russell who is an active member in Citizen Advocacy and the owner of The Sentient Bean, a popular coffee shop in Savannah. Consent forms were singed which authorized the use of the names of the individuals that were interviewed. All of the individuals who were interviewed agreed to have their names used in the research. These interviews began by asking some general questions about the cultural atmosphere in the community, then more specific questions to assess arts and cultural issues, vision, needs and outcomes. The interview included these open-ended questions: 1. What does culture in our community mean to you? 2. What are the key strengths and assets of our communityâ&#x20AC;&#x2122;s cultural environment? 3. What are the critical issues (needs or gaps) facing communityâ&#x20AC;&#x2122;s cultural development planning efforts? 4. How can arts and culture be used to help make the community a more vibrant place? 5. What are your hopes and aspirations for the arts and cultural development in our community? 6. Are there any other comments or observation regarding arts and cultures in the community that you would like to share? 7. Are there other community development issues, e.g., special population needs that could or should relate to the cultural planning vision for the community? Findings Interview 1: Jake Hodesh

The interview with Jake Hodesh, Executive Director-The Creative Coast Savannah, provided a great deal of information regarding the community’s cultural atmosphere and issues facing the arts and cultural scene in the city. Mr. Hodesh manages The Creative Coast Alliance (TCCa), a non-profit organization supported by The City of Savannah. He is engaged in promoting the cultural initiatives, especially those related to community development in Savannah on behalf of the board of directors and the community. 

The Role of Culture Jake considers culture as a diverse array of expressions. For him, culture

represents distinct differences ethnically as well as music, visual arts, and other forms of expression. This means that cultural initiatives can be a very effective tool to bring different communities together. As stated by Jake, “Culture can play a great role to help better engage different communities; it is a valuable tool for social inclusion”. During the interview, I curiously asked him about his hopes and aspirations for the arts and cultural development in our community. Jake stated that more public art as well as more public installations are needed to enhance the role of culture in the community. He also emphasizes that more diverse music events are necessary to satisfy the different tastes in our community. He hopes these events would start to encourage the engagement of various cultures of people in the city. 

Community Strengths and Cultural Assets With regards to the key strengths and assets of the community’s cultural

environment Jake offers several interesting comments and insights. He acknowledges that religion and ethnicity are viewed as a distinctive identity of Savannah. He also notes that

the role of governmental institutions in terms of assistance to communities with a high rates of poverty. Specifically how community centers and neighborhood association contributes to the identity of community. In the interview I asked Jake to explain and comment on specific aspects of communityâ&#x20AC;&#x2122;s strengths. With respect to the community's arts and cultural events and festivals, he states that in Savannah there are city wide events such as savannah music festival, film festival, and Saint Patrick day, which are examples of successful and wellestablished events because they receive support and funding from the city. However, he believes that there is no equal support for funding ethnic arts and cultural events in the city. A perfect example of that can be the Black History Month which is not well supported. Mr. Hodesh explains that commercial viability becomes important factor to funding arts and cultural events and festivals. With regard to the level of cultural diversity in the community, Jake acknowledges that the community is very diverse but at the same time is divided and segregated. Generally, he thinks that the interactions among different ethnicities in Savannah are limited. There is richness in African American culture in the city of Savannah but it is overlooked. Another interesting comment from him is that white population in the community is culturally segregated from the African Americans. As far as the existing arts and cultural organizations and venues in the community, Jake thinks that the status of existing arts and cultural venues are plentiful, in the case of art galleries for example and other performing arts. But the music scene however falls well below. In the interview, Mr. Hodesh offers several observations and insights regarding the desirable places in the community. He believes that city of Savannah is very desirable place to live

and visit, this include places like the River front. He agrees that the community’s spirit of aspiration is positive and has forward looking attitudes toward the future. 

Needs and Gaps When asked to identify critical issues facing community’s cultural development

planning efforts in Savannah, Jake provides a wide range of valuable information. He believes that the cultural development should not be separated from the larger context of the city. He emphasizes that poverty and crime are interrelated problems that face the city of Savannah. He acknowledges that the rate of people who live below poverty line is high in the city. He also thinks that the crime rate especially those related to vandalism and petty thefts for a small town like Savannah, is pretty high. Jake also makes several comments regarding the critical issues in the field of cultural and community development. With regard to funding and cost, he believes that there is adequate funding to support cultural initiatives in the city, yet there are still some initiatives that lack funding. “Funding could be spread out a little better among different arts and cultural initiatives”. As far as venues and facilitates are concerned, Mr. Hodesh believes that by in large the city has good venues for the size of the city, but it is only dedicated for certain kind of music events. He also acknowledges that there is a very good public understanding and valuing of arts and culture in Savannah. By in large, the audience supports the arts and cultural scene but the audience participation depends on the nature of the events, and also the cost of attending the events. Interview 2: Kristin Russell

This interview was with Kristin Russell who is an active member in Citizen Advocacy and the owner of The Sentient Bean, a popular coffee shop located at 13 East Park Avenue. She is very much in favor of more cultural diversity in the community. Kristin has enthusiasm for the idea that arts and culture can be used to help make the community a more vibrant place. She believes that there is a significant opportunity to use cultural events to create spaces where diverse groups can gather and interact. Some of the benefits that she sees are that such events can be considered as mean for socialization among people and as part of making a wider circle of social networks and friends. She hopes to see more music and theater productions and more visual art exhibitions. She also wants to see more people participating in cultural events. 

The Role of Culture For Kristin, history is what informs the culture of any place. “Culture in my

community means the historical patterns and the perception of the world and their identity is what makes up the culture of the place.” She acknowledges that in Savannah, the culture of port city influences everything from economic to social patterns, where people tend to go and not to go. She also notes that the city has huge creative presence and lots of artists. 

Community Strengths and Cultural Assets In the interview Kristin offers important insights regarding the desirable places in

the community. With regards to the key strengths and assets of the community’s cultural environment she offers interesting comments and insights. She acknowledges that Savannah’s festivals and cultural events are considered very strong for a city this size. Every night people can see events here or there in town. In her opinion places like River

front, Forsyth park, city market, Tybee island, and the historic district are seen as desirable to live and to visit. With regard to the level of cultural diversity in the community, Kristin acknowledges that the diversity in the community is considered one; there are however, a lot of divisions within subcultures and groups which can be seen as weakness point. She thinks that embracing cultural diversity takes time and it doesnâ&#x20AC;&#x2122;t happen naturally. She also believes that artists and designers can play a great role in making this place even more diverse than it is now. ď&#x201A;ˇ

Needs and Gaps When asked to identify critical issues facing communityâ&#x20AC;&#x2122;s cultural development

planning efforts in Savannah, Kristin provides valuable information. She believes that barriers related to funding can be a significant challenge for cultural development in the community. She also believes that more funding is needed for overcoming transportation barriers. As far as venues are concerned, Kristin believes that venues and facilities are pretty much concentrated in the downtown area. She supports that idea to spread them out evenly in other areas in the community. This in her opinion will increase the chance for more public participation and local audience engagement. When it comes to public understanding and valuing of arts and culture, Kristin thinks that generally there is a positive public attitude towards art and culture in Savannah. She believes that most people view culture in a positive way, and emphasizes the need to work on diversified events. For her such diversification it is important to reach out to more people and increase public participation. When it comes to cultural development, Kristin thinks not only the city but everyone should be involved and contribute to the culture of the city. Interview 3: Tom Kohler

This interview was with Tom Kohler who is the coordinator and executive director of Chatham Savannah Citizen Advocacy. Beyond the open-ended questions in the interview I also considered the possibility of future collaborations. 

The Role of Culture Tom explains what culture means to him in an interesting way. He believes that

culture has a lot to do with the stories and things we value and treasure. Culture is about how the story is told. The more creativity in telling the story, the more the place becomes vibrant. For example, the creation of public spaces and squares and preserving the history in the downtown areas is part of savannah’s story. For him, culture could also mean food and in the case of savannah, fried chicken and BBQ is considered as a distinctive part of the culture. Hospitality is also another part of the culture here. Tom has an understanding and an appreciation of the broader context of the city and its people who contribute to the culture of the place. This is made clear when Mr. Kohler said, “The notion that savannah has desegregated more peacefully than other cities is part of savannah’s story. Poverty and race relations between white and black are also part of Savannah’s story”. Tom also believes that arts and culture can turn people to be a creator and producer rather than just a consumer. He mentions that the potential African America urban cultural experience in Savannah needs to be identified and acknowledged. He hopes to see more programs and cultural activities that bring different ethnic groups together and that promote interaction between cultures and generations. 

Community Strengths and Cultural Assets In the interview I asked Tom to comment on specific aspects of our community’s

strengths. With respect to the community's arts and cultural events and festivals, he stated

that festivals can be seen as one of the strongest cultural assets in Savannah. He mentions Saint Patrick day as a big event in Savannah. He also lists other important cultural events such as; the ethnic festivals like black heritage, Asian, Irish, Jewish which in his opinion helps attracts different parts of the community together. The various festivals such as sidewalk art, the music, stop over, Telfair artists and crafts festivals, the colored green, food, and Savannah film festivals all help to join the various communities together. With regard to the level of cultural diversity in the community, Mr. Kohler thinks that despite not having identifiable ethnic neighborhoods like china town for examples, the city of Savannah embraces diverse religious believes. There is for example every flavor of Christianity. There is also a Jewish population who live in the city. Muslims also contributes to the diversity of the city. As far as the existing arts and cultural organizations and venues in the city, Mr. Kohler, thinks that on the scale of Savannah, the existing venues are pretty good. These venues in his view bring people together. He also thinks that there are so many desirable places in the community to live or visit including; the squares, the River Drive, Isle of Hope on Bluff Drive, and the Cemetery are historical places. Downtown is also considered as beautiful place to live as well as Ardsley Park. The River also is another beautiful place in the city and it is considered part of the culture here. Tom thinks that the communityâ&#x20AC;&#x2122;s spirit is rooted in pride, particularly the pride of the visual assets that contributes to the way Savannah looks. He states that there is a battle here among city officials to keep things as they were versus how it could become. Do we really want Savannah as an International city? He questioned. ď&#x201A;ˇ

Needs and Gaps

When asked to identify critical issues facing the community’s cultural development and planning efforts in Savannah, Tom provides valuable information. He states that if we compare Savannah with other medium sized cities, Savannah is pretty well supported. However, he thinks that the city could use more children’s culture venues. Regarding the public understanding and valuing of arts and culture, he thinks it comes down to what represents culture. There is for example a group of people that pay attention to culture only as being good for business and economy. The public appreciation of the history of the old culture of Savannah becomes part of the city branding to attract more visitors. In his opinion Savannah is not a world cutting edge city, not backward either. Savannah is a mixing of the “good bone with fresh cloth”. It is in the middle and in his opinion there is support from city government for artists in the community. However, the tendency is more toward commercial culture rather than civic culture. He believes that there are much bigger opportunities than just creating a scene for cultural consumption. Synopsis from the Interviews Taken together, the interviews reveal several frequent themes. The major themes are the positive role of culture and its impacts on community, as well as the deep appreciation of the value of culture in the community. There is also a connection made between the arts and cultural initiatives that bring different groups together by bridging the differences in the community. Another broad theme is the perceived challenges related to arts and cultural development in the city. These challenges exist due to the lack of coordination among cultural groups in the community, and lack of a stated vision and ongoing conversations about what the community wants the arts and culture to be for the

community. Other local challenges consist of economic challenges such as cost and lack of funding for ethnic cultural scenes and events. And finally, according to the interviewees, the most needed kinds of cultural activities are those related to ethnic celebrations and performing arts. All of interviewees agreed that a vibrant arts and cultural environment is a good way to learn about other cultures and to build bridges among diverse peoples. Festivals/fairs/events

performing arts events

classes and workshops

family programs and activities

ethnic/cultural celebrations

activities/programs for tourists

11% 34% 22%

11% 22%

4.1-The most needed kinds of Cultural Activities according to the Interviewees Part II. Workshop-Community Mapping Exercise Part of the strategy for getting a rapid contextual design for participatory mapping was to conduct two rounds of testing. The overarching purpose of the mapping exercise was to gain better understanding on how to empirically conduct a cultural mapping workshop. There were two specific objectives I wanted to accomplish: first I wanted the participants to explore different ways of reading the built environment as visual culture,

and secondly, to create several visual representations of community assets as seen by the participants. Background The workshop was conducted with students enrolled in IDUS 325: Emerging Manufacturing Materials class in spring quarter of 2011. The students were invited to participate in cultural mapping exercise for capturing their own perspective on the cultural landscape in their communities. Prior to the exercise, I introduced participants to different ways of mapping urban space. The mapping exercise used figure-ground analysis, GIS maps, and mental mapping techniques. Participants then attempted multiple mapping techniques and different representational strategies. After mapping their landscape, participants critically examined how representational strategies affect the nature of knowledge that was produced thorough participatory mapping methods. Participatory Mapping Session Mapping Community Assets can assist us identify the human, materials, financial and other resources in the community. This type of mapping exercise is one way to gain insider perspective of the community and sense of place. The concept behind asset mapping is viewing a community from its assets rather than its deficits. The basic objective of mental mapping is to see how participants cognitive guide the path that makes up his/her life in the community. Participants referred to guiding framework and questions to stimulate their thinking about community assets. The diagram shown below illustrates the different elements that contribute toward community assets in urban space. Although this framework illustrates a very simplified version of the actual complex

process, it suggests a way to conceptualize space and place and offers a broader interpretation which will allow for a wider application in the cultural planning.

People Transportation

Government

Community Assets Framework Human Services

Physical

Institutional

Economy

4.2-Framework for Community Assets Mapping Discussion and Feedback from Participants During the mapping process, it was very important to allow participants to reflect on the content and usefulness of the map. As part of the discussion, participants presented and discussed their visual representations. In the discussion, participants reflected on three main quires: first, should more information have been included on the map? Secondly, is the information displayed on the map accurate? And finally, what areas need to be improved or addressed? By the end of the discussion, participations filled out an

evaluation feedback form. These comments reflect most lessons learned from the mapping exercise as perceived by the participants. The following highlights some of these comments: â&#x20AC;&#x153;Seeing the pre-existing model and having a well written description helped me realize how to better visualize information. I never thought about approaching materials or other objects on an abstract level. â&#x20AC;&#x153;Mapping helped me to see how my mind worked. It showed how I develop things in my mind, and what was most important to me. Recommendations To help identify additional sources of cultural data for the cultural mapping project, participants recommended that consideration needs be given to using 3D media in performing participatory mapping and also expanding the categories of framework for community assets. A better layout of the chart would be helpful if more color coding is used. After the session, the focus was on improving the following areas of the workshop design: 1. More time to explain cultural mapping methods and its functions. 2. Focusing more on mind mapping first and then on the cultural mapping. I would also give a quick overview about mind mapping before the exercise. 3. Giving options for participants to do a physical and mental map as well. Also, giving the participant options to create a map on their own and with a partner. 4. Providing more examples of mapping and representational strategies and more examples of the process to enhance clarity. 5. Having more colors available for participants to choose from.

6. Showing more examples of how complicated some maps are and how simple others are. In conclusion, the session was quite useful to make necessary changes on the cultural mapping method that I intended to use for the case study. Part III. A Case Study of Dalton In this section the objectives of conducting the case study are presented followed by the main research tasks and activities that were undertaken throughout the course of this project. The section then presents synopsis from the interview and focus group sessions. Finally, results from the cultural inventory are presented. Research Goal and Objectives In this case study I consider the spatial distributions of cultural assets in Dalton, a city in Whitfield County, Georgia. The study aimed at introducing unified cultural resources framework for capturing local perspectives on the cultural landscape in Dalton. The project was guided by these two objectives: 1. To establish baseline of information on cultural resources 2. To develop recommendations for building capacity for further cultural mapping efforts. Research Tasks A number of key activities were undertaken throughout this project. These included: 1. A review of literature and cultural mapping practices 2. Meeting with the Daltonâ&#x20AC;&#x2122;s City Administrator 3. Face-to-face interviews with stakeholders

4. Mini focus group session and creating cultural inventory 5. Site visits to specific scenes and locations in the community 6. Presentation on the application of cultural mapping during the city council meeting 7. Attending public hearings and meetings with city officials 8. Production of specific maps of cultural assets 9. Compiling data from online survey of community identity mapping. The table shows the different phases of conducting the research project. Each stage is designed to inform the direction and the content of the subsequent stages.

Table 2. The Sequence of the Project Stages and Tasks Mapping Structure

The structure that I have used for the mapping project was built around total of 110 cultural asset types grouped into seven clusters as shown in figure 10.

4.3- A Radial Venn diagram of Cultural Resources Framework. Canadian Framework for Culture Statistics (2008). Stages of Mapping Process Mapping the cultural assets of Dalton has undergone through five main stages. First, the planning, in this stage, I focus on determining objectives with the community under study and obtaining a buy-in from the city administrator. The project Design includes designing the inventory and drafting survey questionnaires and interview questions. Then the implementation stage which mainly involves carrying out broadbased research â&#x20AC;&#x201C; surveys and targeted research â&#x20AC;&#x201C; interviews. In the synthesis stage I started roughing out the maps and analyzing the results. And last, finalizing these maps and presenting the results to the target audience.

Planning

Going Public

Project Design

Synthesis

Implementation

4.4- Stages of Mapping Process City Profile Dalton is a small town located just off Interstate 75 in the foothills of the Blue Ridge Mountains in northwest Georgia. It is the principal city of the Georgia Metropolitan Statistical Area, which encompasses all of both Murray and Whitfield counties. 53 The community is a vibrant reminder of Georgia's past and its future. Started in 1956 and only recently completed, Interstate 75 runs through Mill Creek Gap, over the site of much of the Battle of Rocky Face. The depot that witnessed the city's growth has been revived as a restaurant, appropriately called The Dalton Depot. Downtown Dalton

National Association of Counties:2011 (Whitfield County). http://www.naco.org/Counties/Pages/CitySearch.aspx (accessed May 2011).

features a wide array of businesses, including upscale shopping and food. The western side of the city includes three exits packed with just about every kind of fast food. 54 Demographic and Racial Profile It was important to have some basic understanding of the racial profile of the city. This set of data contributes toward gaining a more holistic understanding of the community under study. To accomplish this research task I relied on the U.S. Census Bureau, 2005-2009 to capture the city profile. According to the 2010 census Dalton had a population of 33,128 living in 11,337 households. The following statistical descriptions of Dalton highlight the cityâ&#x20AC;&#x2122;s racial composition. According to the 2005-2009 U.S. Censuses, the largest single group, at seventy percent (70%) reported White followed by Hispanic or Latino community who accounted for 27.38% of the total population.55

Table 3. Demographic and Racial Profile

http://www.cityofdalton-ga.gov/index.php/about-dalton/economics (accessed May 2011).

U.S. Census Bureau, 2005-2009

White 25%

African American American Indian and Alaska Native

0% 1%

Asian

70%

Native Hawaiian and Other Pacific Islander Hispanic or Latino (of any race)

4.5- Demographic and Racial Profile Findings The following section discusses results from the face-to-face interviews, then it presents results from focus group session followed by an illustration of the quantitative cultural inventory, and finally, it describe the outcome from online community survey. ď&#x201A;ˇ

Face-to-face Interviews The purpose of these interview sessions was to have a better understanding of the

cultural atmosphere in Dalton. Those interviewed included: Kellie Smith, Linda T. Blackman, Brian D. Anderson Sr., Berrien Long, David Aft, Veronica French, Pam Partain, Terry Tomasello, Kathryn D. Sellers, and finally Ty Ross, Daltonâ&#x20AC;&#x2122;s City Administrator. The participants were extremely informational and generous with their time. Not only did all of them have the interest in the cultural development of the community, but also they were eager for the potential of participatory cultural planning

and mapping to be realized. This section summarizes their impressions about the arts and cultural issues, vision, and concerns. The outline of questions that were asked includes: 1. What does culture in our community mean to you? 2. What are the key strengths of our communityâ&#x20AC;&#x2122;s cultural activities? 3. What are the major issues and challenges relating to culture in our community? 4. Are you interested in attending a cultural mapping workshop? Each interview lasted approximately one to two hours. Before each interview session, the objectives and scope of the project were briefed to all participants and consent forms were singed that authorized the use of the names of the individuals. ď&#x201A;ˇ

Challenges facing Cultural Development

The interviewees identified three major challenges: 1. lack of suitable venues 2. lack of coordination among arts and cultural groups in the community 3. Insufficient funding support to local artists The diagram below indicates that the lack of coordination is the main challenge related to arts and cultural development in the city (56%), following by the insufficient funding and support to local artists.

lack of coordination

44% 56%

Insufficient funding support

4.6- Challenges facing Cultural Development Summary of Participant's Responses to Interview Questions 

What does culture in our community mean to you? All interviewees acknowledged culture as sort of the identity and the character of

the community. For them, Dalton’s culture represents pride, historic preservation, carpet culture, and wealth. Interviewees also spoke of how family oriented the culture is in the community. According to them, it is all about small town feel and community bonds. Half of the group identified family values as major element contributes to Dalton’s culture: “It is about sense of belonging and supportive family network”. “Culture represents family, friends, and people that I associated with. It is about people engaging with people”. “Dalton offers a good place to belong and share family values. It is a good place to raise children and to live” Interviewees also believed that arts and cultural initiatives are important for the community and as a vital asset on many levels. The majority of the interviewees, for

instance, thought of cultural diversity as positive source for the community. They also recognized arts and culture to be an essential component of quality of life in the community. Moreover, they linked cultural diversity and creativity to the economic development and wealth generation. On the other hand, other interviewees also spoke of the domination of white male culture, experiences of sexism, racial profiling and stereotyping. Few interviewees talked about the leadership’s lack of appreciation to beauty and creativity in general: “Our leaders don’t see the importance of beauty and recognizing it. They consider it extra expense. They don’t see it as a long-term investment” The diagram shows the equal emphasis on the reasons as to why arts and culture is important for the community.

is fun and entertaining

is educational 17%

16% provides activities for families to do together

17%

16%

17%

is good for business and the economy

helps attract people to live and work here

makes the community an interesting place to live/visit

4.7- Response to the question: “why culture is important for the community?” 

What are the key strengths of our community’s cultural activities? Five interviewees acknowledged cultural spaces and venues available for cultural

activities as the key strength for the community. The majority recognized that there are lots of spaces in Dalton for arts and cultural activities but there no centralized communication between the different agencies and organizations. In other words, there is no unified platform for communication. Moreover, all participants perceived cultural diversity as strength that adds to the uniqueness of the community’s cultural fabric. Interviewees also spoke of the value of cultural diversity to development and growth as one of the strength points in the community. “We have lots of Hispanic and Asian and Middle East particularly with the Capet Industry. I consider this as strength that can teach people the value of diversity but unfortunately we haven't exactly embraced Latino community”. “We have a lot of international people from all over the world…” Despite the lack of cultural events that celebrate diversity in the community, interviewees agreed that arts and cultural programs require new ideas and new attitudes. Some participants identified cultural diversity in the community as very divided and that there is a stigma of other cultures especially in the case of the Latino population. “There is a stigma of other cultures here. The Latino are segregated from the mainstream society...They are not recognized as far as what they can bring to the community” Figure 15 describes the different views in which the respondents perceived arts and culture. Thirty percent of the respondents see that culture as one effective way to

build bridges among diverse people in the community. Further, a quarter of the responses agree that vibrant cultural environment is a positive way to learn about other cultures and a good way to express ethnic identity.

a good way to learn about other cultures

21%

24%

25%

30%

a way to build bridges among diverse peoples

a positive way to express ethnic identity

a way to help me better understands my culture and heritage 4.8- The Role of Culture as perceived by Research Participants ď&#x201A;ˇ

What are the major issues and challenges relating to culture in our community? Several respondents discussed the decrease in funding support and its effects on

arts and cultural panorama in the community: â&#x20AC;&#x153;Funding is a problem especially for small organizations. They try very hard to raise money but this is not enough. I think local government should feel comfortable adding in the arts and cultural development as part of the government expenseâ&#x20AC;? From quality of life standpoint, the city is doing well in taking advantage of the natural resources and turns it to nice parks, but the city also needs to consider arts and culture as vital resources that enhance and contribute to the overall quality of life of the

people in the community. Entertainment and recreational facilities were also a concern for many respondents. Escaping town was again cited as a major concern, stating that this occurs because Dalton does not offer enough options for the younger and creative people. Many felt that Chattanooga, the neighbor city, is a place to go and hang out. The geographic proximity and easy access to Chattanooga enables people to travel outside of Dalton for shopping, dining, and entertainment. “They are cool; we are not because there is tons of stuff to do there than here” “We in Dalton don’t have enough to offer to make people always stay in town but I think what we do have is not well supported either”. Improving recreational opportunities was also a common theme for the majority of the interviewees as an important need for quality of life. And finally, the interviewees identified the following themes that could and should be incorporated in future cultural planning of the city: 1. Evening venues 2. Children Fine Arts Museum 3. Arts & Culture Consortium 4. Expanded Public Arts Program 5. Organized and regular tours of carpet facilities 6. A carpet museum 7. Effort to preserve heritage tourism sites The column diagram below shows that the most needed types of arts and culture activities.

6 5 4 Rank 1

3 2

Rank 2

Rank 3

4.9- The most needed types of Culture Activities in Dalton Focus Group Session This section summarizes insights gained from mini focus-group session that took place in Dalton City Hall on May 3rd, 2011. The focus group session aimed at bringing together different stakeholders in one setting to discuss and develop a cultural inventory of the city. The participants were selected purposefully for their knowledge and experience with cultural and community development. Those include Ty Ross, Linda T. Blackman, Berrien Long, Pam Partain, and Kathryn D. Sellers. The focus group session began with a presentation which covered the projectâ&#x20AC;&#x2122;s scope and objectives and the different applications for participatory cultural mapping. During the session I used various materials to stimulate and encourage discussion on the topic (e.g. presentation materials, flip chart, ground maps and online maps, local yellow

book directory). The intention of designing the focus-group session was to introduce a unified way of categorizing information about the cultural resources in the community. During the session, the participants worked together and inventoried the existing arts and cultural resources in the community. The inventory provided an outline of the communityâ&#x20AC;&#x2122;s facilities, venues and programs related to fine arts, performing arts, festivals and special events, historic, shopping and other related assets. A key deliverable of the session was the creation of the cultural inventory of cultural assets in Dalton. This included information on festivals and events held by local tourism agencies, information on natural and cultural heritage assets maintained by municipalities, and a database of local arts and heritage groups. All these sources were combined to create baseline of information pertaining to cultural assets in the community. After compiling the data, I used the quantitative results from the inventory and translated them into visual representations by adding spatial dimension to the data. Daltonâ&#x20AC;&#x2122;s Cultural Inventory While the broad understanding that culture is important in carrying out any cultural mapping practices, the focus of the current project was more on a specific set of cultural resources. Building upon the concepts articulated earlier, I used a similar framework outlined in the Canadian Framework for Culture Statistics (2008) to map the cultural assets, both tangible and intangible, of the community under study. The intention of having a framework was never meant to be a strict classification system, but more of a general guide to ensure that a broad range culture is included in the mapping project. The

structure that I have used for the project was built around a total of 110 cultural asset types grouped into seven clusters as defined below:56 1. Creative Cultural Industries: these are the categories of cultural industries like performing arts, theatres, and promoters of performing arts, sports and similar events. 2. Community Cultural Organizations: this category represents community cultural organizations involved in arts, cultural and heritage activities. 3. Spaces and Facilities: these are places designed to host cultural activity. 4. Cultural Heritage: this category includes establishments involved the preservation and exhibition of objects and sites of historical, cultural and educational value. 5. Natural Heritage: this category includes natural wonders and areas of natural heritage and environmental significance. 6. Festival and Events: this category represents festivals and events that occur on an annual or regular and predictable basis. 7. Other Related Resources: these are organizations or sectors that have important relationships to these cultural resources but are not considered part of the core, such as schools, colleges, religious groups and places of worship. The project described herein considers â&#x20AC;&#x153;cultureâ&#x20AC;? to cover all the aspects mentioned ealier. For the purpose of developing the baseline for cultural mapping process, not all cultural assets of this inclusive definition can be captured. Instead it proposes a unified cultural resource framework that the municiplaity of the city of Dalton nneds to make a better place-based planning. 56

Ontario-MCP: Cultural Resource Mapping: A Guide for Municipalities. 2010. www.ontariomcp.ca (accessed July 2010).

Quantitative Description of Cultural Inventory The following section presents the outputs from the carrying out the cultural inventory session. The inventory produced a total of 110 assets within the cultural planning realm. These assets were separated into different seven groups to better represent the make-up of the cultural landscape in the community. These categories included creative cultural industries; community cultural organizations, spaces and facilities, cultural heritage, festivals and events, natural heritage, and other elated resources like worship places and educational institutions. The table blow describes the quantity of these resources in the community.

Cultural Assets Category

Number

1. Creative Cultural Industries

2. Community Cultural Organizations

3. . Spaces and Facilities

4. Cultural Heritage

5. Natural Heritage

6. Festivals and Events

7. Related Resources

Total

110

Table 4. Cultural Inventory of Dalton It is important to note that the baseline information included in the cultural inventory does not necessarily capture all cultural resources or activities in the

community. The generated information in the inventory is only intended to provide a representative sample or as an indication to these cultural assets as expressed by the members participated in the focus group session.57 The pie chart illustrated here shows a quantitative representation of cultural assets in Dalton. The diagram shows that spaces and facilities dominate the majority type of assets available in Dalton while there are significantly a small number of community cultural organizations which represented on in three percent of the total cultural resources in the city. Related Resources 7%

Number of Asset

Festivals and Events 17%

Creative Cultural Industries 23% Community Cultural Organizations 3%

Cultural Heritage 8%

Spaces and Facilities 42%

4.10- Number of Cultural Assets in Dalton Online Community Survey

Ontarioâ&#x20AC;&#x2122;s Municipality Cultural Planning. Ibid. 2010

A total of 95 responses to the survey were received with 100% completion rate. The duration of the community online survey was from June 7 to July 7, 2011. The advantage of using web-based approach was to collect and process data quickly. Online surveys have the advantage of low cost and quick distribution. Additionally, web-based surveys provide the ability to transfer responses directly into a database.58 The online survey posed five questions as follows: 

What is the first image that comes to mind when you think of Dalton?



What three places come to mind first?



What is it about our quality of life that makes Dalton unique?



Every community has stories –about people, place, activities, achievements, etc. – that express something important about its identity? What two or three stories do that for you?



When you are hosting a guest who has never visited Dalton before, what tourism attraction(s) do you most want them to see?

Survey Highlights 

What is the first image that comes to mind when you think of Dalton? Respondents indicated a variety of ideas and images about their community, both

positive and negative. The following section provides details analysis of the most frequently cited symbols, images and stories about Dalton. The most cited symbols were carpet culture, small southern town, family oriented, the cultural heritage points of interests in the city especially downtown, and frequently 58

Andrews, D., Nonnecke, B., Preece, J. (2003) Electronic survey methodology: A case study in reaching hard to involve Internet Users. International Journal of Human-Computer Interaction. 16, 2, 185-210. [Online]. Available at: www.ifsm.umbc.edu/~preece/Papers/Online_survey_design_IJHCI04.pdf (accessed March 2009).

the mountain area. The vast majority of the responses described the atmosphere in Dalton community as small-town life with wonderful and caring people. Paralleling responses to images of culture, the natural landscape specifically represented in the North Georgia Mountain area, was also frequent. To study the text contents in the online survey I used “Textalyser”59, a text content analysis tool that provides detailed statistics of the text. Using this tool helped me show the keyword density and analyze the prominence of word.

Table 5. The Frequency and Top Words of Symbols and Images 

What stories that express something important about Dalton? The following summarizes the essence of these stories about what makes Dalton

unique according to participant’s responses.

To learn more about the tool visit: http://textalyser.net



Community’s Accomplishments and Pride Respondents recognized stories about the community as place that values the

entrepreneurial spirit of America as well as stories about sharing and caring about the local community and its people, especially needy families. “Mr. Willis of Willis Funeral Home telling me that he hopped off the train at Dalton and stayed. How men starting in the carpet business would come out of their factories and sit on the curb and talk about how they were making their carpet and sharing information and success.” 

Cultural Diversity Respondents identified different cultural groups that contributed to the cultural

diversity in their community like Cherokee Indian, Hispanic community, African American and Appalachian heritage. “As an African American born and raised on the Eastside of Dalton, there are no places left that are important. As a people we have lost our identity in this city as well as our communities. Most of our stories are buried in the past.” 

What three places come to mind first? The most cited places that were associated with people’s sense of place in the

community were: Downtown, Walnut Ave, Walnut Square, Dalton State College, Rocky Face, Ridge Brookwood Park. The table shows the summary of frequency of places cited in this question.

Table 6. Frequency top Words of Places cited in Question 3 

What tourism attraction(s) do you most want visitors to see? The following highlights the summary of frequency and top places cited in this

question. 

Downtown - was the most highly ranked places. This finding was consistent with previous answers of places and unique stories; these were the most regularly mentioned attractions in the community.



Cultural attraction – many historical attractions in the city were identified such as Historic Train Depot, civil war stops, and Old Railroad Tunnel at Tunnel Hill



Natural attraction- the most mentioned here the parks like Heritage Point Park.

Table 7. Frequency top Words of Places cited in Question 4 

What is it about our quality of life that makes Dalton unique?



Small Town Atmosphere Participates identified Dalton as place capable of offering the feeling of family

and community bonds. Respondents also noted other characteristics such as the feeling of safety in the community, low density, and affordability. “Small town atmosphere with big city dreams”. “Peaceful”. “Dalton is a community dedicated to caring for its people”. 

Economic aspect Respondents identified Dalton as place with potential for businesses and growth

by describing it as small town facility with access to large town amenities. These comments also highlighted Dalton’s proximity to bigger cities like Atlanta.

“Dalton acts like it is bigger than it is. People are highly competitive. Having a large industrial base located within the City limits has been great benefit”. 

Diversity Respondents commented on the diversity the city has for its small size. “It is unusually diverse for a town its size, and it has a more active arts scene than most towns its size”.



Educational opportunities Respondents acknowledged the quality of education system in the city. “If there is a desire, all things are possible in our public education system. This community reaches out to her own in need”



Community facilities and city layout

Many participants commented on the green environment in the city and the opportunities for outdoor adventures in the mountains “I love the layout of Dalton. It is great for people who want to exercise. Stores are close and accessible even to people living in the more country or rural areas”. “Mountains and small town life only 1 hour from two metro areas”. “Beautiful landscaping with lots of trees, and rolling hills”

Chapter Five: Analyses and Findings In this chapter I start by describing the mapping process and the methods I used for data analysis. The map makings were based on the data resulted from the cultural inventory discussed in the previous chapter. I also presented these maps in terms of their potential uses to make place-based decisions for cultural planning. Finally, the chapter discusses the design opportunity based on these findings. Considering the lengthy processes involved in carrying out a participatory cultural mapping project, it was important that I narrow the scope mapping to communicate specific purposes. The table below summarizes the approach I used for using the data.

Table 8. Approach for using the Data for Mapping Purposes (modified after: Municipal Cultural Planning Incorporated, 2010). As shown in the table, I divided the potential use into two main categories: first, the resource mapping level, where the data is used to make tangible products such as maps and directories. At this level, the information was basically used to capture the existence and the spatial dimension of all identified tangible cultural assets in Dalton. The second row in the table is the community identity mapping level. Here this kind of data

was used in a more strategic way to identify stories and themes that could capture the intangible aspect of local culture. The table below outlines the data products that can be created from the cultural inventory. It shows the core data set for developing the cultural inventory in the current research. The table also indicates the underlying rational for each set.

Table 9. Summary Core Data for developing the cultural inventory (modified after: Municipal Cultural Planning Incorporated, 2010). Digital Map-Making A key deliverable output from the current project was the production of a number of digital maps that visually display the data collected during the focus group session. The purpose of these maps was not to provide a list of all possible geographical representations that could be illustrated, but rather to demonstrate the potential usefulness to those maps. In making the maps, I used Google map applications to create digital maps of the cultural assets in Dalton. The advantages of making a digital cultural map is unlike paper map which is static, digital maps are dynamic when it comes to manipulating the

data set used in the mapping. It allows different layers to be added or combined. These places marked in these maps denote the approximate geographical point of reference of cultural assets identified in the cultural inventory. 60 These maps contain different context layers including the city boundaries, streets, and cultural resource data to provide points of reference for each category of the cultural resource as per the used framework.

5.1- Data Architecture of Mapping Layers The following section provides visual representations of the cultural assets network for the community under study. These maps were made to demonstrate how knowledge visualization tools can help us rethink and reuse the same cultural data in a different way.61

Karolina Ociepka (2011). Cultural Digital Maps. UNESCO. http://www.unesco.org/culture/en/masterpieces (accessed June 2011). 61 The generated digital cultural maps can be viewed in Google Map. Click on Google Maps then on My Places. Choose the different maps from the list and interact with it. They can be viewed on Earth or Satellite view. Available at: http://maps.google.com/maps?hl=en&tab=wl

5.2- Map of the Cultural Assets Network ď&#x201A;ˇ

Point Data Maps

5.3- Point Data Map This map illustrates the size of cultural resources city wide with minimal context layer to emphasize point data of cultural assets. These point data show the connections between the different cultural resources that were indentified in the framework. The map points the geographical locations of the quantifying cultural inventory.



Clustering of Cultural Resources Clustering has long been understood as a central part of economic development.

The concentration of industry and other related industries, have the potential to produce “perpetual innovation”, resulting in new divisions of labor and increased productivity.62 

Community Cultural Organizations Here these maps show that the density is located in the center of the city, with few

resources located outside the center. The map shows the location of four community cultural organizations across the city.

5.4- Clustering Map for Community Cultural Organizations 

Cultural Heritage

The following map shows the geographical points of reference to cultural heritage assets throughout the city of Dalton.

Castells, Manuel and Peter Hall: Technopoles of the world: The making of 21 century industrial complexes. (London: Routledge) 1994.

5.5- Clustering Map for Cultural Heritage ď&#x201A;ˇ

Natural Heritage The map shows the natural heritage category which includes parks and recreation

areas in the city. The map shows four locations: Crown Mill Historic District, Lake Shore Park, Harmon Field, and Dalton Civic Park.

5.6- Clustering Map for Natural Heritage ď&#x201A;ˇ

Creative Cultural Industries

This map shows the clustering of Creative Cultural Industries throughout the city.

5.7- Clustering Map for Creative Cultural Industries ď&#x201A;ˇ

Festivals and Events

This map presents clear clustering of festivals and events available in the city.

5.8- Clustering Map for Festivals and Events ď&#x201A;ˇ

Spaces and Facilities

5.9- Clustering Map for Spaces and Facilities This sample map shows the clustered location of cultural spaces and facilitates across the city. Other Related Resources

5.10- Clustering Map for Other Related Resources These maps show the clustered location of other related resources across the city.

5.11- Clustering Map for Other Related Resources This map represents the distribution of schools buildings and districts in the city. Other Feature in Digital Map-Making ď&#x201A;ˇ

Ground View of Cultural Resources

5.12- Ground View of Cultural Resources The digital map allows much more exploratory experience by using zooming in and out feature. The map below shows the ground view of cultural resources across the city. This feature can be used in Google map application to view the collective concentration of assets or can be used to view specific category of resources as shown in the second map for spaces and facilities. ď&#x201A;ˇ

Street View Map The making of digital maps by using Google earth also allow the users to get

street views and directions to cultural assets located in the map. For example, the user can enter address or location in the location information into search panel. The digital map also gives the user an option to enable the roads, 3D buildings. Depending on what purposes the digital cultural map, the user can have the option to enable the places of interest layer.

5.13-Street View Map ď&#x201A;ˇ

Direction Map The digital map allows zooming out and zooming in. By clicking on icon of each

cultural asset category, the user can find out about a particular in the community. This feature can be used to view the collective concentration of assets or can be used to explore specific category.

5.14-Direction Map

Summary The purpose of map-making was to demonstrate different ways in which cultural resources inventory can be illustrated visually through digital mapping to show how cultural assets are distributed, where they are clustered and where there are gaps. The diagram below shows the process of handling information of mapping the cultural assets.

5.15- Input-Output Diagram of Digital Cultural Assets Mapping The purpose was fulfilled through consolidating and categorizing the information to finalize the cultural inventory of the community under study. The purpose was also attained through adding the geographical context and visualizing the point of references for each type of cultural assets through digital map-making. The process used for map making was only able to generate cultural inventory based on information gathered from small number of participants in the focus group session who were chosen without using probability-sampling methods. This factor limits the generalizability of the findings. In order to assess the results of the study in light of it objectives, the criteria was adjusted to be the ability of the mapping process to incorporate a public participation aspect in mapping out the tangible and the intangible cultural resources in the community.

Chapter Six: Design Concept Development The purpose of this chapter is to demonstrate practical application for cultural mapping through “My Favorite Spot”, a suggested design concept for a web-based participatory cultural mapping. The chapter discusses the context within which I propose the concept then it illustrates the design development methods and processes. How “My Favorite Spot” Started? How to transform soft data into sharp insights? With this question in mind I started thinking about my proposed design concept. “My Favorite Spot” is a concept model for an application platform that supports collecting information and consolidates existing sources of information to support decision making. It is about collecting soft data and turning them into sharp insights for future cultural planning initiatives. During the research process, I asked the question, how can we visualize our cultural landscapes and how do we know it when we see it? How can the social network media help us to share information with the general public and stakeholders? Can I develop a concept for an application that encourages people to participate in mapping their cultural resources? In approaching this design concept, I explored various research areas related to participatory design research, cultural planning, and knowledge visualization methods. “My Favorite Spot” is the result of these varied fields and disciplines. The intention behind the concept was to demonstrate an innovative way that enables city planners to visualize the invisible cultural landscape of the city they are planning for? During the conceptualization of the design idea, my approach was guided by the question: is there a way to mobilize the community’s involvement in planning their cultural assets and how can we provide equal opportunities to all members of the

public to become involved? Another guiding principle in approaching the design concept was that the data generated from the public participation through the platform should be functional for cultural planning. The PCM System Model The model for participatory cultural mapping contributes to the benefits of peopleâ&#x20AC;&#x2122;s mapping (qualitatively based) versus traditional methods, e.g., quantitative survey. Essentially, the model provides a cost-effective, dynamic, and information-rich alternative to traditional expensive cultural survey services. The concept for a web-based mapping is an ongoing process, many of its benefits can only be achieved through sustained efforts to update cultural resource data and compare it over time, which requires an ongoing partnership with the community.63

6.1- Participatory Planning vs. Traditional Methods 63

Municipal Cultural Planning Incorporated: Cultural Resource Mapping. Ibid. 2010

Best practices in cultural planning suggest that designing a web-based cultural mapping platform can function as an effective search tool for people to find specific information about the cultural resources they know or they want to know about.64 It opens the door for public participation. From the practical application point of view, an application platform for participatory mapping can benefit planning and policy, for example, the information that can be obtained from the system can inform evidencebased planning by the city and other community and business agencies.65 The proposed design concept also has implications for city branding and tourism marketing. For this, the information on cultural assets can be translated into searchable web-based maps to raise awareness of the cultural landscape of the city for both residents and visitors. The generated database can also serve an archival function, where cultural information and communityâ&#x20AC;&#x2122;s stories are captured for future generations.66 And finally, by sharing the cultural related information through a web accessible platform, the results can help improve the overall cultural programs and panorama of the place. Design Development Method The method used in developing the design concept is guided by the design thinking principle. Design is primarily an innovation process. The methods used were informed by the works of practitioners and scholars in design thinking and integrating innovation, e.g., Thomas Lockwood, 67and by reviewing IDEOâ&#x20AC;&#x2122;s Human-Centered

For example: Municipal Cultural Planning Incorporated: Cultural Resource Mapping. Ibid. 2010 and Creativity Network of Canada: Creative City Planning Framework. Toronto: PCA Associates. 2008 65 Ibid 66 Source: Authenticity (2007), Culture, Economy, Community. In Municipal Cultural Planning Incorporated. Ibid. 67 Ibid. P.37

Design Toolkit68 as well as the articles related to designing business new models published by Design Management Institute.69 Design Process The concept design development went through four main stages consisting of concept understanding which was important to articulate the final product strategies. The second step was concept ideation to help visualize the userâ&#x20AC;&#x2122;s needs, then concept verification through prototyping and testing, and finally concept implementation which involves transferring the documentation of the design proposal and evaluating the design concept.

6.2- Design Development Process Concept Understanding To better understand the concept, it was important to keep in mind that cultural mapping is a tool and a methodology no matter what its application. How cultural mapping is performed has everything to do with who is doing the mapping and what are the political and social agendas behind it. The design concept proposes the use of geo68

IDEO: HCD. 2 Ed. http://www.ideo.com/images/uploads/hcd_toolkit/HCD_INTRO_PDF_WEB_opt.pdf (accessed March 2011). 69 Heather M.A. Fraser: Designing Business: New Models for Success. Design Management Review. Vol. 20 No. 2, 2009 (Boston: Design Management Institute).

location technology with social networking tools to visualize qualitative data, such as peopleâ&#x20AC;&#x2122;s experiences and perceptions of place, and visualize how these relate to the existing cultural assets that support that community. These data can be seen as different layers of complex information as show in the diagram below.

6.3- Data Architecture of a web-based Participatory Cultural Mapping To better understand the tool I visualized the basic elements that constitute cultural mapping method firs by using influence diagram to show relationships and second by using control input/output diagram to show information flow. Showing these connections and relationships were important steps as these connections are not obvious unless we have some methods of visualizing the pattern.70

Malcom Craig: Thinking Visually: Business Application of 14 Core Diagrams. (UK: Thomson.)2000



Relationship Diagram

6.4- Relationship Diagram of Participatory Cultural Mapping The diagram provides a high-level qualitative review under which I explored the model for participatory cultural mapping. The Influence diagram offers a way to identify and display the 71

essential elements and how they influence each other. This diagram also shows how the cultural assets can be classified into intangible and tangible elements and how both can influence what can be considered as part of the community’s cultural assets profile. These, in turn, influence what kind of criteria is needed to identify intangible culture through “identity mapping”, and also identifying the tangible cultural resources through “assets mapping”. Both of them, in turn, influence the elements to be part of cultural mapping process, which ultimately affect the final product: a cultural plan that is responsive to the cultural needs for local communities. The following explains the node and shapes in the diagram:



Square: A decision is a variable that the city planners have the power to control.



Oval: A chance variable is uncertain and planners cannot control it directly.

Ibid.

86 

Hexagon: An objective variable that the planners trying to achieve or maximize.



An arrow: An arrow denotes an influence. An influence expresses knowledge about relevance. It does not necessarily imply a causal relation, or a flow of data. 72



Control Input/Output Diagram

6.5- Control Input/Output Diagram of Participatory Cultural Mapping This diagram shows how outputs of the mapping process need to reflect the input. There is no point of having participatory mapping and planning, as an output, if there is no input that enables planners to achieve the desired outcome.73 This diagram incorporates both control feedback to I/O diagram. This brings the following features: 1. The actuators, which covers tasks that need to be adopted when required. 2. The environmental influences, which are beyond control. In this case, these include polices related to culture and community development.

72 73

Malcom Craig, Ibid. 67 Malcom Craig, Ibid.

3. The sensor that has clear criteria for standard of performance from the output. In this case, the sensor is the cultural planner. 4. The negative feedback acts on the inputs by increasing or decreasing in order to maintain a desired result. Positive feedback, on the other hand, acts on the inputs in order to maximize results at the output. 5. The comparator which compares the standard from the output with the overall goal and triggers off any changes to one or more inputs. Concept Ideation In this cognitive task, the design challenge was to design a platform that motivates diverse user groups to share information related to cultural assets, identities, and stories in their communities. The purpose of this design concept was twofold: 1. Increasing opportunities for public participation by enabling users to become active contributors to cultural planning and mapping efforts for the city, thus seeing a return on their contributions of time and effort. 2. Designing a concept that takes advantage of social media tools and interactive mapping applications to extract and visualize information from various sources. To visualize the design concept, a user experience storyboard of the idea was put together: The main theme in the storyboard is around the idea that peopleâ&#x20AC;&#x2122;s participation can be very meaningful to all stakeholders and it can lead to taking responsibility for oneâ&#x20AC;&#x2122;s community. ď&#x201A;ˇ

Storyboarding The illustrated scenario shows the city council, chamber of commerce and local

cultural organizations that come together for discussing future cultural development

projects in the community and to brainstorm a community vision for improving the quality of life in the city.

6.6- A User Experience Storyboard

Concept Validation The concept validation process involved diagramming the information flow of the design concept.

6.7- Information Flow Diagram for the Design Concept The research on available application platforms shows that there is thousands of Application Programming Interfaces (API) that would allow designers to use the rich data that are generated from the participatory cultural mapping application platform. Applications such as Twitter and Flicker offer comprehensive APIs that enable different user interfaces to form the actual sites. New applications, such as Infochimps and Factual were also initiated lately and were exclusively designed to provide structured data.74 At the individual level, the user can update friends on Facebook, share his or her location on Foursquare, or tweet about it on Twitter. The system map diagram below shows the

Nathan Yau , 2011

different social media tools and digital mapping that are incorporated later in the design concept for PCM model.

6.8- Main social media tools of a web-based PCM The prototype of the mock-up design includes an interactive platform features the following: 1. Creating digital cultural maps of cultural assets of the users. 2. Networking and exchanging cultural contents through social media tools.

A temporary web site was developed to provide a dynamic application that operates as window for cultural knowledge of people to be shared with others by using digital mapping applications, complimented with social media and networking tools. The design concept was validated through asking users to interact with the mock-up design to create their own cultural maps. These maps reflect their personal view of what they perceived as cultural assets. The following is selected snap shots that illustrate the mockup design for a web-based PCM model.

6.9- Mock-up design for a web-based PCM model

6.10- Mock-up design for a web-based PCM model for User 1

6.11- Mock-up design for a web-based PCM model for User 2

6.12- Mock-up design for a web-based PCM model.

Concept Refining75 The design concept was built around increasing public participation and encouraging user to share information on their cultural assets and stories about their communities by using social media tools and interactive map applications. Based on this, the purpose was to design an empowering tool that enables the public to express their opinion on what they like about a place and why, and what would make it better. The purpose was also to make information broadly available, in which visitors, local residents and organizations can discover the range of resources in the community. It can also function as an effective search tool for people to finds specific information about cultural resources they know. Collectively, the generated data can provide a wealth of information to help improve decision making and communicate different options more effectively. The data can also serve an archival function in which cultural information is captured for future generations. Throughout the design concept development, I wanted to ensure that the model allows for involvement of stakeholders through public access to cultural contents and information. The refinement process of the design concept involves suggesting new features and functionality of the design concept including users can upload photo of their favorite places, spots, and cultural events as well as security and sharing features.

Detailed description of the concept design for a web Based Cultural Mapping design concept was presented during Daltonâ&#x20AC;&#x2122;s city council meeting in September 2011. A copy of the document is available at the authors website: http://scad.academia.edu/SAADAQUEELZ/Papers/1262636/A_Web_Based_Cultural_Mapping_A_Captolo gy_Design_Concept

Chapter Seven: Conclusions and Future Directions This chapter begins by revisiting the research questions, and then it provides a review of the research purpose and the implications of the research results. The chapter concludes by addressing the limitations of the study and the future research directions. The Research Questions The research question was framed as follows: in what ways did the development of visual representations of cultural resources become a valuable tool for place-based planning and decision-making? In order to answer the research inquiry I used the results to develop the cultural inventory and translate it into visual representations by using digital mapping applications. These maps were based on the information generated from the mapping focus group sessions that were held as part of the cultural mapping process. Review of the Research Purpose The aim of this study was to demonstrate a practical application of the cultural mapping by establishing the data foundation of cultural resources and to complete initial analysis of these findings; and second, to develop a design concept for building the capacity for further cultural mapping efforts. This aim was accomplished by developing the cultural inventory of the community under study and by using Google map applications to show the geographical references of the resources that were identified in the inventory and to create a number of digital maps for specific planning purposes. Results implied the need for a unified framework for organizing cultural data. While this requires drawing information from different sources, the question that needs to be raised is whether the data can be easily obtained? And does it come from reliable source?

Equally important, the participants should have a clear sense of why they are involved in the cultural mapping process76 Design Opportunities and Practical Applications Municipal decision-makers and other leaders can use the platform to inform decisions and better communicate with the public about the cultural development programs in the community. Similarly, culture and tourism organizations as well as businesses can benefit from a broad set of cultural information which can help to plan their efforts. The following describes the main implications for practical use77: 1. Planning and policy: a stronger base of information on culture informs evidencebased planning by the city and other community and business agencies. 2. Tourism, marketing and promotion: information on cultural resources collected through mapping can be translated into searchable web-based maps to raise the awareness of culture for both residents and visitors. The stories identified through identity mapping can help create thematic routes to enrich the tourism experience. 3. Cultural programming: mapping can help enhance cultural programs delivered by cultural organizations, schools, and other community and business groups by building an application platform, a web accessible base of relevant information and resources. Limitations of the Research Design While the scope and parameters of this research were chosen for their capability to provide rich information, a number of factors in the present research methodology are limiting. First, this exploratory research was based on a single case study therefore the

76 77

Ibid. Authenticity (2007), Ibid.

finding was subject to some limitations. The main limitation of using a single case study in this research is the incapability of this strategy to offer generalizing conclusions. This constraint was due to the fact that the number of participants in the research was too small to be representative to the entire population. Furthermore, because the qualitative research does not collect numeric data from a representative sample of the target audience, this type of research cannot be subjected to statistical analysis to estimate to what extent opinions expressed by participants reflect the opinions of the target population.78 Other limitations are concerned with the data collection methods used in this research. For example, focus group participants were selected without using probabilitysampling methods which limits the generalizability of the findings.79 Limitations also include missing data that occurs in conducting the online community survey due to nonresponse. Key informants interviews used in this research also have some limitations in the sense that information is not coming directly from the target population. Thus, it is very important to keep in mind that the quality of that information relies on objectivity and depth of knowledge provided.80 Future Research Directions This research topic needs more studies on the potential applications of participatory cultural mapping. To thoroughly investigate the scope of this research, further research on increasing public participation in planning should be conducted with special attention to the following themes:

Michael Patton: Qualitative Research and Evaluation Methods. (London: Sega Publication Inc.) 2002 Rubin, A. and Babbie E.: Research Methods for Social Work. (Pacific Grove: Brooks/Cole.) 1997 80 Rubin and Babbie. Ibid. 79

1. The current research was based on a single case study. By conducting other case studies aiming to compare their results in term of the cultural assets framework, will support the validity and the generalizability of the results. 2. To further maintain the foundation for cultural mapping, data partnership need to take place in order to continue facilitating information sharing opportunities. 3. The proposed design concept for a web-based mapping system plan needs to be further validated and developed to expand access and provide opportunities for participation. 4. Additional research on how to optimize the platform for â&#x20AC;&#x153;cultural networkingâ&#x20AC;? is necessary for designing a comprehensive system for future cultural mapping process. 5. More urban ethnographic research methods need to be integrated as part of the cultural mapping project. This will be significant for future projects as it will help to understand the different ways in which cultural landscape was produced. Summary The proposed design for web-based PCM was guided by the principle that public participation should be part of the mapping process and it should be a functional part of planning as well. The below table summarizes the benefits and the shortcomings of the proposed concept.

Table 10. Summary of benefits and shortcomings of the design concept â&#x20AC;&#x153;My Favorite Spotâ&#x20AC;? The next steps in the design process should include the following steps: 1. Develop a project work plan that addresses project objectives and scope. 2. Get programmers to consider the feasibility of technology, and investigate methods to consolidate all different layers of information related to cultural contents and use profiles. 3. Find out if companies would subsidize services for marketing and branding opportunities 4. Build more technical prototypes and physical designs to be tested on different users 5. Assessing cost for developing the platform. The budgeting process should include the technical resources like GIS software and IT consultants and also the cost of community engagement workshops and public participation events.

Bibliography Barnett, C. (1999). Culture, government and spatiality. International Journal of Cultrual Studies, 2(3) 369-397. Best, K. (2006). Design Management: Managing Design Strategy, Process and Implementation. Lausanne, Switzerland: AVA Publishing. Bianchini, & Maughan. (2004). Cultural Planning and cultural divertsity. www.culturalplanning-oresund.net: PDF. Bianchini, F., & Ghilardi, L. (2004). The culture of neighbourhood: A European perspective. In Graeme Evans: Cultural mapping and sustainable communites. Borrup, T. (2006). Creative Community Builder's Handbook: How to Transform Communities Using Local Assets, Arts, and Culture . Canada: Fieldstone Alliance. Center for Cultural Management. (2008). Cultural Planning in teh City of L'viv: Cultural Mapping. Amsterdam: European Cultural Foundation. City Univeristy London . (2010). Cultur and Regeneration Planning. PDF: http://www.city.ac.uk/cpm/modules/cultural_planning.html. Clark, S. (1995). Cultural Mapping. Cultural Mapping Symposium and Workshop. Australia: PDF-http://www.unescobkk.org. COMEDIA. (2002). Realizing the cultural potential of our core cities. www.corecities.com/coreDEV/comed.html: PDF. Creativity Network of Canada-CNC. (2008). Cultural Mapping Toolkit. Toronto: PCA Associates. Evans, G. (2008). Cultural mapping and sustainable communities: planning for the arts revisited. Cultural Trends, Volume 17, Issue 2 June , 65 - 96. Evans, G., & Foord, J. (2008). Cultural mapping and sustainable communties: planning for the arts revisited. Cultural Trends , 17 (2) 65-96. Farson, R. (2008). The Power of Design: A force for transorming everything. Norcross, GA: Green-way Communications. Fee, R. (2007). Design Managment Program Excecutive Summary. Savannah: SCAD. Ford Foundation. (2003). Downside Up: The Listening Tour Project, Asset Building and Community Development Program.

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Fraenkel, J., & Wallen, N. (1990). How to design and evaluate research in education. New York: McGraw-Hill Publishing Company. Ghilardi, L. (2004). Cultural Planning and Cultural Diversity. Council of Europe. Copenhagen:Noema Research and Planning Ltd, London. Ghilardi, L. (2008). Cultural Planning and the creative city. CIIPKU New Year Forum. London: Peking University-UK. Grams, D., & Warr, M. (2003). Leveraging Assets: How Small Budget Arts Activites Benefit Neighborhoods. PDF. www.macfound.org/speeches/specialreprots/index.htm. Hawkers, J. (2001). The fourth pillar of sustainability: Culture's essential role in public planning. Melbourn: Cultrual Development Network. Jackson, M.-R., & Herranz, J. (2002). Culture Counts in Communites: A Framework for Measurment. Washington DC: Urban Institute. kleiman, N. (2002). The Creative Engine. New York: Center for an Urban Future. Kuipers, G. (2009). Introduction to popular culture and the city. Amsterdam: University of Amsterdam. McCandless. (2009). The Visual Miscellaneum: A colorful guide to the world's most c onsequnetial trivia. New York: Collins Design. Mercer, C. (2005). Cultural Capital and Capabilities. Paris: Cultural Capital Ltd.UK. Mercer, C. (2006). Cultural Planning for Urban Development and Creative Cities. PDF. Mercer, C., Engwicht, D., & Grogan, D. (1995). Cultural Planning Handbook. Queensland Australia: Allen and Unwin. Pascallon, P., & Ferrand, C. (1986). The Cultural Dimension of Development. Intereconomics . Pittwater Council. (2002). Cultural Plan. www.pitwwater.nsw.gov.au: PDF. Putnam, R. D., & Feldstein, L. M. (2003). Better Together. Boston: Kennedy School of Government, Harvard University. Rossman, G., & F., R. (1998). Learning in the Field: An introduction to qualitative research. Thousand Oaks, CA: Sage. Ruiz, J., & DragojeviÄ&#x2021;, S. (2007). Guide to Citizen Participation. Amsterdam: European Cultural Foundation, Interarts Foundation, ECUMEST Association.

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Schwartz, P. (1996). The Art of the Long View: Planning for the Future in an Uncertain World . New York: Doubleday Publishing Group, Inc. Soini, K. (2001). Exploring human dimensions of multicuntional landscapes through mapping and map-making. Landscape and urban planning 57 , 225-239. Stern, M. J. (2002). Performing Miracles. New York: Center for an Urban Future. Storey, J. (2009). Cultural Theory and Popular Culture: An Introduction. London: Henry Ling Ltd. Yeoman, I., & Robertson, M. (2004). Festivals and Event Management. Burlington: MA: Elsevier Limited.

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Appendix A Interview Protocol Interview ID #: Date & time of interview: Location and type (face-toface, phone) of interview: Interviewer:

Saad Aqueel Alzrooni, DMGT-SCAD

Interviewee: Contact Info (Phone, email): Position: Profile: (brief job description and other relevant information) Script: “Thank you for taking the time to talk with us today. I’m going to being by asking you some general questions about the cultural atmosphere in the community, then more specific questions to assess arts and cultural issues, vision, needs and outcomes. The interview instrument will include both open and closed-ended questions.” Open-ended questions: 1. What does culture in our community mean to you? ……………………………………………………………………………………………… ………What are the key strengths and assets of our community’s cultural environment?* ……………………………………………………………………………………………… ………* Interviewee will be asked to comment on the following aspects of community’s strengths: Points for discussion Arts and cultural events and festivals Cultural diversity Existing arts and cultural organizations and venues

Notes from respondents

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Desirable places to visit or live Community’s spirit of aspiration (is it positive and forward looking attitudes?) 3. What are the critical issues (needs or gaps) facing community’s cultural development planning efforts?* ……………………………………………………………………………………………… ……… *Interviewee will be asked to comment on the following aspects: Points for discussion

Notes from respondents

Funding and cost Venues and facilitates Public understanding and valuing of arts and culture Audience engagement City issues related to cultural resources planning 4. How can arts and culture be used to help make the community a more vibrant place? ……………………………………………………………………………………………… ……… 5. What are your hopes and aspirations for the arts and cultural development in our community? ……………………………………………………………………………………………… ……… Close-ended questions:

[ [ [ [

6. I believe that a vibrant arts and cultural environment is (please check all that apply): ] a good way to learn about other cultures ] a way to build bridges among diverse peoples ] a positive way to express ethnic identity ] a way to help me better understands my culture and heritage

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[ [ [ [ [ [

7. I believe that arts and culture is important in the community because it (please check all that apply): ] is fun and entertaining ] is educational ] provides activities for families to do together ] is good for business and the economy ] helps attract people to live and work here ] makes the community an interesting place to live/visit

[ [ [ [ [ [ [ [ [ [ [

8. I think the most needed kinds of arts and cultural activities are (please check all that apply and rank your top three choices): ] festivals/fairs/events ] performing arts events (concerts, dance, theater) ] classes and workshops ] family programs and activities ] ethnic/cultural celebrations ] activities/programs for tourists ] museum/art exhibitions ] school/children programs ] historic events and activities ] activities/programs for seniors ] other (please specify)

[ [ [ [ [ [

9. I think the major weaknesses and challenges related to arts and cultures in our community are (please check all that apply and rank your top three choices): ] lack of suitable venues ] lack of coordination among arts and cultural groups in the community ] insufficient support to local artists ] not enough arts and cultural activities or events ] not enough arts and cultural education ] other (please specify)

Final interview question: 10. Are there any other comments or observation regarding arts and cultures in the community that you would like to share? Are there other community development issues, e.g., special population needs that could or should relate to the cultural planning vision for the community? ……………………………………………………………………………………………… ……………………………………………………………………………………………… ……………………………………………………………………………………………… Script: (Close) Thanks for your time. Please don’t hesitate to contact me if you have any questions or think of anything that we didn’t cover. May I contact you if I have follow-up questions?

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Appendix B Informed Consent Form This research project is being conducted in partial fulfillment of the requirements for MFA degree in Design Management. The researcher, a graduate student at The Savannah College of Art and Design, is interested in exploring the use of participatory mapping method for envisioning community cultural planning. The research project will be the basis for a more general discussion on how to leverage the tangible and the intangible elements of communityâ&#x20AC;&#x2122;s cultural resources to achieve strategic development objectives. The researcher would like to interview you for this project. Please understand that there is no pressure on you to participate in this research. o o o o

I voluntarily agree to participate in the study explained to me by the researcher. I understand that the interview will take approximately 45 minutes. I understand that the researcher will provide a copy of their written report if I wish. I understand that if I want my identity to remain confidential, the researcher will honor my request. In other words, my name and identifying information will not be shared with anyone besides the researcher, and my name will not be connected with my responses. o I know that I will not receive any compensation for my participation. Issue of confidentiality (please check one): I would like for the researcher to use my actual identity. I realize that people who read the completed research project will be able to link my responses to my actual identity. I would like for the researcher to keep my identity confidential. I realize that the information I shared with the interviewer will be used in the research project, but the researcher will use a pseudonym to protect my identity.

Signature of the respondent: Date: Printed Name: Signature of the researcher: Date: Printed Name: Saad Aqeel Alzarooni

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Glossary of Terms Baseline Cultural Mapping Baseline Cultural Mapping is a process of identifying cultural assets, developing an initial database and maps that illustrate the scope and location of cultural assets. Cultural Mapping A process of collecting, recording, analyzing and synthesizing information in order to describe cultural resources, networks, links and patterns of usage of a given community. Cultural Inventory A list or database of information about cultural resources and assets of a community. Cultural map A report on the findings and conclusions of a cultural mapping process; the cultural map can take many forms. Dataset A dataset is a collection of data, organized into a table where each column represents a category of information. Data architecture Data architecture is the format chosen to organize a dataset. It involves choosing the names and order of data fields (categories of information), and the hierarchy within which they will be organized in a GIS database. Graphic map A visually based, topographical map that is either drawn by an artist or generated by a computer using geographical information system. Web-based map A website dedicated to describing and representing eh cultural resources and assets of a community. Target population The sector or community being studied. Target audience The group to which you intended to present your findings and recommendations.

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Biographical Statement

Saad is a perfectionist yet pragmatic in everything he does. His introverted intuition makes him an idea and visionary person. He is passionate about participatory design and ethnographic research. His research interest centers in understanding the ways design thinking and knowledge visualization can serve as vehicle for social innovation and community engagement. He blends his educational background in community development and social impact analysis to feed into his design solutions. Saadâ&#x20AC;&#x2122;s goal is to help individuals, groups, and communities visualize their assets and guide them to realize their goals by using various social assessment and analytical tools. He is all about truing soft data into strategic insights for emotional, process, and functional innovations. Spring 2012

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