Design.Dance in Public Space Proposal_TN

design. dance Thi Nguyen Š 2017

in public spaces

an invigorating way to see dance

table of contents

Project description Overview

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Dance in public space class

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Participation

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Research & outcome Survey & focus group

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Community participatory workshop

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Organizational participatory workshop

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Challenges & objectives

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Design solution Journey map

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Parameter for success

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Design comp

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Prototyping

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Thi Nguyen © 2017

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project description Dance in Public Spaces (DiPS) is a com­ bined design and dance project that aims to bring dance practice to the community making it more accessible for audiences of all backgrounds. DiPS is curated by Dance Waterloo, a non-profit organization in Austin, Texas. This is a series of dance workshop hosted at a public art installation, provides an invigorating way for audiences to experience dance, foster connection

among the community members and with the artists through conversations and crea­ tive movement workshops.

DiPS has been an existence for nearly two years. In 2018, Dance Waterloo expect generate more community interest for dance in public places and gain a consis­ tency of participants who attend DiPS classes.

core values

Collaboration

Public Space

Education

Community

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DiPS class DiPS classes offer a great opportunity for dancers to explore their movements in a given context—the art installation and the environment. Participants also take part in an open discussion about the art installation and their improvisation.

The values of DiPS classes are centered in self-understanding and self-connection (the mind) with the physical body, and

the experience of being able to express it through creating movement.

DiPS is looking forward to increasing the number of participants with a diverse background to build a larger dance com­mu­ nity in the Austin area and expect to pay dancers more for teaching classes and performing.

class structure

Being familiar with the environment

Talking about the art installation

Interacting with the piece

Reflecting your understand through movement

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levels of participation

Fig.1: Prospective Austin dance community

Participants of DiPS include community members, artists from other disciplines and dancers ranked from passive to active audience. Among these, community mem­ bers is the largest group and the most challenging approach. Dancers and artoriented people are potential audiences the near future.

By breaking down the prospective community into 4 groups of participation, we can define a suitable & effective communication method for each group (fig. 1–2) Observer/ Pedestrian curious in public art performance » » think public dancing is entertaining Communication channels: » environmental graphic to guide public interaction

Fig. 2: Level of participation

Contributor » interested in public art performance » understand/can relate to the content Communication channels: » environmental graphic » ambient ad Community Dancer » art/dance oriented » enjoy dancing Communication channels: » environmental graphic » online campaign/social media Member » art /dance background » enjoy dancing in public spaces » care about dance practice in the community Communication channels: » outreach program » internet/social media

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survey & focus group Phase 1 research focuses on the commu­ nity member group or passive audiences to find out if there is enough public interest in public dancing; and young dancers from college if they may be DiPS’s potential members/active audiences.

Method 1: focus group interview ( 4 dance students from Texas State University—TSU & Austin Community College — ACC) » A majority of dance students at TSU (80%) aren’t introduced to Dancing in Public Spaces because it is not a apart of the curriculum. » They aren’t aware that dance can make an impact on the community. » Dance in public spaces is more popular at ACC. » Dance graduates are struggling in pursuing professional careers related to dance. » Dancers work at unfulfilled jobs.

Method 1 takeaway Should Dance Waterloo become an outlet for young dancers to keep them involved in the art? If yes, how so?

Method 2: Survey (fig. 4) (from hikers, bikers and local residents) » Top 3 favorite dance styles: modern / contemporary, hiphop, partnering » 80% are interested in watching a public art performance (passive audiences)

while 19% intents to participate (potential active audiences) » 98% agrees that pubic dancing fosters community connection.

Method 2 takeaway » Has public art performance always been accessible to the community? » Which ways can public dancing transform passive participants into active participants?

Do you always come to this trail/park? yes

no

What days & time do you usually come here?

M T W R F S 6–12 12–5 after 5

S

Have you noticed any art installation on the trail? yes no Would you stop by to check it out? yes no Have you heard of Design & Dance for Social Practice? yes no What is your reaction when you see an art performance such as dance by an art installation? ignore

curious

appreciative

Would you watch/dance with them if you were invited? watch

dance

probably not

What type of dance do you like to watch or try? hiphop

jazz

modern/contemporary

cutural partnering

Does public dancing foster community connection? yes

no

male

female

age:

DANCE DESIGNIN& DANCE PUBLIC SPACES

FOR SOCIAL PRACTICE Fig. 4: Community survey

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community participatory workshop Research focus » to understand the public interest/ sensibility in public art performance through the way they see dance » focus group: community members or passive audiences (fig.1) who may or may not have contact with dance before.

Method Each audiences will receive an activity card (fig. 5). They are invited to join a discussion about the art installation. After that, they can watch or join a creative movement session.

Time & location: Saturday, 10/21 at the Carver Branch library. Since the number of DIPS participants is very low, community mem­­­bers are invited to the event. Flyer/ bookmark are distributed by library staff and hung on the door knobs of some house in the area.

Fig. 5: Community participatory survey

Outcome 3 company members 0 community member Library users showed interest but didn’t stay to watch. » Dancing in public spaces isn’t a common concept that any community member will develop interest in the first place. It per­ haps takes a lot of effort to introduce and educate the general public about sitespecific dance as well as its impact on physical/ mental health and commu­nity connection. » Communication wasn’t effective. They wouldn’t know if they’re invited to watch or join the class.

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Participatory research prototype

always start with

Design.Dance in Public Spaces

the why

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organizational participatory workshop Method Using human-centered design toolkit (ideo), this participatory research helps the organization staff to refocus on their mission and practices adding audiences’ perspectives, to understand their strengths, weaknesses and challenges, and to define their short-term and long-term goals in order to come up with an appropriate and effective solutions.

Tool: Four sets of cards, 17 questions and scenarios Rules of thumb: » There's no right or wrong answers » Build ideas upon ideas » Be visual » Quantity is the key » Don't jump into any conclusion Step 1: Conversation starter » Why Dancing in Public Spaces? » How do you see the future of DiPS? » What makes the community want to join DiPS? » How do you create that opportunity for them?

Step 2: Digging deeper. Bringing audiences’ perspective into the project planning » What are the strengths & weaknesses of the organization?

» What are current challenges? » Who are our potential groups of audiences? » Who are the fans? Who are the skeptics? » What types of audiences do we want?

Step 3: Journey map — mapping milestones, breaking it down to archive one at a time » Draw the time line » Setting goals in the next 1, 2 & 3 years » Where are the key movements? (wow ) » Know that there are small goals in a big goal Step 4: Turn ideas in to concepts using “How might we” questionnaire—framing challenges to set up for innovative solutions » Ask the right questions » Come up with as many answers as possible » Moving notes from previous steps to generate solid ideas Goals: » Always refer to the organization’s mission to generate concepts and solutions » Define the relationship between Dance Waterloo and different groups of audience.

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challenges & objectives According to the milestone map, the current challenges include: » defining Dance Waterloo’s brand position among other non-profit organizations and professional dance groups through social media and other unconventional platforms. » engaging surrounding community and having 5 consistent DiPS participants » improve the quality and quantity of their process work and archive in order to connect with the national dance network and to apply for funding.

Next, an organization’s success is mea­ sured by the users’ outcome. This relates to one of the questions from the workshop » What makes the community want to join DiPS? Experience a new way of interacting with nature, understanding community connection through a shared activity and conversation. » How does Dance Waterloo create that opportunity for them based on our strengths? Provide an invigorating way to see dance, an opportunity to dance (free dance classes) and art education for participants.

Design.Dance in Public Spaces

journey map To understand users’ experience and out­ come, I drew out a journey map that show an audience’s process of interacting with Dance Waterloo (fig. 5). Right now, the public is unaware of the class and its pur­ poses. Thus, our current objective is to establish cultural and social identity in the environment where DiPS class takes

place to help them understand who we are and our missions. Furthermore, by understanding what we do, the audiences can find themselves connected with the organization, and support our practices— through dance, collaboration and for the community.

Fig. 5: Journey map Current objectives: establish Dance Waterloo’s cultural and social identities in public places

Recap on the organization’s missions » How might we involve the community through collaboration? (Dance for the community vs dance with the community) » How might we utilize public spaces to provide an invigorating way to see dance? » How might we made the audiences look at public spaces differently by changing the they normally interact with it?

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parameter for success Accessibility: being accessible for different groups of audiences. Pedestrians include adults, kids and senior citizens.

Affordability: fitting in the designer & organization's budget—the cheaper the better Usability: fulfilling the needs of the community and the organization » refer to stage 1 of journey map (seeing— understanding) » portable, lightweight and reusable Feasibility: being able to execute in a short amount of time—prefer in-house studio

possible solution Step 1: Signage and way finding system would be the best fit for budget and feasible to build in a short amount of time. An envi­ ronmental graphic will interrupt public pat­ tern of interaction with the environment.

While walking on the trail, audiences start seeing sidewalk chalk paint with phrases that make them think about their steps, their movement, the sounds they generate.

Because the solution always starts with a question: why audiences want to follow the sign, content are created from the

audi­ence’s perspective, and related to their normal activity on the trail. The sentences are broken up into four sections bellow: “Every step you take” “is a movement” “echoing” “through space” (fig. 6) By changing the way audiences interact with the environment, environmental gra­ phic functions as a facilitator that slowly

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design comp introduces them to a new unconventional context, in which dance is presented.

Step 2: When arriving at the site, audiences will read “See Movement. Think Expression” (fig.8). “See movement” is a recap of their discovery on their own movement and per­ haps tran­s­late, connect it with what they are about see.

“Think expression” is a call for action /a claim that dance is not only about the movement but a freedom of self-expression, conversa­ tion, community and connection.

Step 3: To foster a conversation between dancers and the viewers, a set of three viewfinders are provided at the site so that audiences can be more involved in the creative pro­ cess by discovering new perspectives to see dance. They are encouraged to capture their viewpoint with the phone camera. A hashtag is intentionally placed close to the frame as a way to promote the organization.

Each viewfinder also includes a written state­ment of Dance Waterloo’s mission that explains to the audiences why they see what they see (fig.7).

Fig. 6: Comps for signages that are sprayed on the ground.

Stencil » plastic sheet with laser cut (~$20) » chalk spray paint ($5 /can) Viewfinder » wood sheet with laser cut (~$20) Signage » Plexiglass ($12) » vinyl (in-house studio)

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Fig. 7: Viewfinder with Dance Waterloo’s mission » building community connection through dance in public spaces » fostering social & emotional growth in children through dance education » designing dance practices that are accessible for all

Fig. 8: “See movement. Think expression” poster

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prototyping

changing the way‌

…

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Design.Dance in Public Spaces

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the we interact with the

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allows us to see things that we could not see, to understand what we have not understood, & to find connection with absolute anything.

people environment,

colophon

Design.Dance in Public Spaces was pro­ duced by Thi Nguyen of the Design for Social Impact course in the MFA program in Communication Design at Texas State University, with assistant professor Molly Sherman. © 2017 by MFA Communication Design

Texas State University, San Marcos, TX. All rights reserved. No part of this pub­ lication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the publisher.

finearts.txstate.edu/Art/mfacomdes

in public spaces an invigorating way to see dance