north st. paul public art participation process...

Prepared for: North St. Paul Department of Community DevelopmentPrepared by: Space 2 Place, Inc.December 3, 2013

North St. Paul

Public Art Participation Process Proposal

Growing Capacity to Create Place and Build Community

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This project was supported by the Resilient Communities Project (RCP), a program at the University of Minnesota that convenes the wide-‐ranging expertise of U of M faculty and students to address strategic local projects that advance community resilience and sustainability. RCP is a program of the Center for Urban and Regional Affairs (CURA) and the Institute on the Environment.

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Space to Place: Creatively building community capacity and liveable citiesHumphrey School of Public Affairs 301 19th Ave. S., Minneapolis, MN 55455

City of North St. PaulAttn: Department of Community Development2400 Margaret StreetNorth St. Paul MN 55109

December 3, 2013

73(*,:7(*,

Space 2 Place (S2P) is pleased to submit our response to your request for proposal for engagement in public art planning. Our team, along in partnership with the Metropolitan Consortium of Community Developers (MCCD), the Economic Development Authority, and the North St. Paul Business Association, looks forward to working with North St. Paul residents and City staff to develop an inclusive and creative participation process. Our approach is not only collaborative, but also focuses on reinvigorating the arts in North St. Paul in a variety of ways. Through a large arts festival, and small pop-up arts events, our approach is based on creative place-based techniques that focus on creating shared experiences through art itself. We seek to engage a wide range of North St. Paul residents and a diverse group of stakeholders to engage in creative and interactive placemaking projects. The goals of our planning process include:

- Empowering residents to choose the direction they would like to incorporate public art into the City. - Inviting residents to engage with the built environment by reinvigorating spaces with creative placemaking tactics. - Creating opportunities to build social capital and community capacity to establish long-term buy-in from community members. - Establishing broad based involvement in the arts including youth and seniors and connecting this broad base of art supporters to similar projects proposed in the community (e.g. community gardening).

(U�PTWVY[HU[�JVTWVULU[�VM�V\Y�V\[YLHJO�PZ�[OL�PU]VS]LTLU[�VM�Z[HRLOVSKLYZ��6\Y�WYVJLZZ�ZWLJPÄJHSS`�MVJ\ZLZ�VU�NYV^PUN�H�IHZL�VM�LUNHNLK�HUK�PU[LYLZ[LK�JVTT\UP[`�members interested in fostering arts in the City. We propose to do this through ad hoc, grass roots inspired projects such as storycorps inspired sharing booths, and permanent art installations. Through these techniques, we hope to engage community members in North St. Paul to decide where, when and how they would like to incorporate arts into their City. >L�SVVR�MVY^HYK�[V�^VYRPUN�^P[O�`V\�HUK�[OL�5VY[O�:[��7H\S�YLZPKLU[Z�HUK�Z[HRLOVSKLYZ�[V�LZ[HISPZO�H�WYVJLZZ�[OH[�PZ�PU]P[PUN��LTWV^LYPUN��HY[�IHZLK�HUK�ÅL_PISL�[V�[OL�needs of this community.

Sincerely,

Nancy Ferber Michael Krantz Erin Garnaas-Holmes Hang Su

Cover Letter Overview The Participation Plan Work Program

Cover Letter

Table of Contents

Overview

Introduction Context Demographics Previous/Existing Arts Activites Precedent Public Arts Plans

The Participation Plan

Approach Goals Stakeholders Potential Barriers to Engagement Techniques

Work Program

Phase I Phase II Phase III Intersection of Planning and Participation Evaluation Recommendations: Communication and Documentation

References

Appendices

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Table of Contents

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Introduction

The purpose of this proposal is to facilitate the incorporation of public art into North St. Paul by means of creating a planning process and more importantly, a process that is focused on community engagement in a unique and creative way.

In recent years, North St. Paul has expressed a desire to pursue a number of forward-looking initiatives, including ‘living streets,’ community gardens and the engagement of underrepresented groups. Most relevantly, the city is also interested in creating their own Public Arts Plan. This proposal recommends a public engagement process aimed at shaping the Public Arts Plan and achieving broader civic goals.

;OPZ�WYVWVZHS�ILNPUZ�I`�ZL[[PUN�[OL�JVU[L_[�HUK�KLÄUPUN�[OL�V]LYHSS�NVHSZ�and approach of the plan and participation process. The second section MVJ\ZLZ�VU�[OL�ZWLJPÄJ�NVHSZ�VM�WHY[PJPWH[PVU�HUK�[OL�[LJOUPX\LZ�LUNHNLK�to attain those goals. The report concludes with a work plan, which details ZWLJPÄJHSS`�OV^�^L�^PSS�PTWSLTLU[�[OL�WSHU�

Space 2Place

Founded in 2013 by a group of planning and design professionals

committed to improving the quality of public space through

community capacity building and creative techniques, Space 2

3ODFH�LV�D��F��QRQ�SURoW�RUJDQL]DWLRQ�WKDW�VHHNV�WR�HQJDJH�D�ZLGH�YDULHW\�RI�VWDNHKROGHUV�LQ�WKH�FUHDWLYH�DQG�HPSRZHULQJ�DFW�RI�claiming ownership over their environment. S2P strongly believes

in the value of the democratic process and the power of creative

collaboration to envision beautiful futures.

Context

0U�VYKLY�[V�KLZPNU�HU�LMMLJ[P]L�WHY[PJPWH[PVU�WSHU��P[�PZ�ÄYZ[�ULJLZZHY`�[V�understand the context in which the plan would be implemented. One of the most important facets of North St. Paul is its tightly knit social fabric and its strong sense of community. Much of this process proposal is focused on developing existing assets in the City. This is described in more detail in the approach of the process but it is important to note that one of North St. Paul’s strongest existing assets is its residents. Connecting with an existing base of engaged and well-informed residents is key to respecting the existing community in North St. Paul while presenting new ideas.

As Jane Jacobs, an urban critic suggests, “Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody” (Jacobs, 1961). S2P would like to emulate this ideology as it connects to the sense of place already existing in North St. Paul. This sense of place is created by the residents themselves, their experiences, and demographic characteristics such as age, race, and language spoken.

The effectiveness of participation efforts vary according to the demographics of the population. For example, millennials may be more responsive to digital outreach efforts, minorities may require translation, retirees may prefer meeting locations that require minimal travel. The list goes on. Thus, this engagement process is designed in light of the goals the programming proposed and the unique characteristics of the stakeholders in city.proposed and the unique characteristics of the stakeholders in city.


Inc.

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DemographicsNorth St. Paul is a city of 11,387 residents (according to the 2010 US Census) in the northeast Twin Cities metropolitan area. As an inner-ring suburban city, its population grew most rapidly between the 1950’s and the 1970’s. By the 1990’s the city was almost fully developed with little remaining vacant land. Since that peak, the population has been relatively stable, with a slight decline.

In North St. Paul, there are multiple demographic considerations that have a bearing on the design of the engagement process. First, the population in the City is relatively older than the rest of the region, as can be seen in the graphs. This suggests that participatory tools such as digital media may be overall less effective than if the population were younger. It may also suggest that there are more households with children. Being responsible for children can make attending public meetings a challenge. Transportation can also be a challenge for aging residents. S2P has kept this in mind and recommends locating meetings and activities in an easily accessible venue in order to minimize barriers to their participation.

Another consideration is that North St. Paul also has a lower income than the region as a whole. This is evident by looking at median incomes, property values and rents (all of which can be found in the American Community Survey). For example, median household income in the city is $53,000 per year while median household income in the region is over $65,000 per year. Along a similar vein, North St. Paul residents, on average, receive less formal LK\JH[PVU�[OHU�[OL�YLNPVU�HZ�H�ÔVSL��:WLJPÄJHSS �̀�H�OPNO�WLYJLU[HNL�VM�residents discontinue their education after high school. This would require a TVYL�ÄUL�NYHPULK�HUHS`ZPZ�[V�KL[LYTPUL��I\[�[OLZL�MHJ[VYZ�TH`�Z\NNLZ[�[OH[�civic literacy is a problem for some residence or that they don’t have adequate access to newspapers or online information (PBS&J, 2006). More creative and proactive efforts would be useful in overcoming this engagement barrier. A couple of ideas include ensuring ample opportunity for oral engagement as well as reaching out to these residents through their social circles.

Finally, North St. Paul on the whole is racially homogenous. 79% of the residents are white and 89% speak English at home. Even so, that leaves a large number of residents that are minorities or do not speak english well. This has a number of implications. First, engaging these residents may require reaching out to different cultural institutions. It will also be important to provide meeting and engagement informa-tion in multiple languages. Finally, portions of this cohort may be less familiar with general civic processes. Providing a more thorough L_WSHUH[PVU�VM�[OL�PU[LU[�HUK�]HS\L�VM�TLL[PUNZ�HZ�^LSS�HZ�KLZJYPIPUN�OV^�YLZPKLU[Z�JHU�PUÅ\LUJL�[OL�W\ISPJ�HY[Z�WSHU�TH`�OLSW�YLK\JL�barriers to involvement.

While demographics and geographic traits certainly represent parts of this community, North St. Paul has also cultivated a sense of place [OH[�PZ�KPMÄJ\S[�[V�TLHZ\YL�[OYV\NO�KH[H�HSVUL��;OPZ�ZLUZL�VM�WSHJL�PZ��WHSWHISL�ÔLU�]PZP[PUN�VY�[HSRPUN�^P[O�JVTT\UP[`�TLTILYZ��0[�PZ�YL-ÅLJ[LK�PU�H�Z[YVUN�ZLUZL�VM�WYPKL�HUK�JVTT\UP[`�JVOLZPVU�HYV\UK�ILPUN�H�ZTHSS�[VÛ�^P[O�IPN�NVHSZ��,]LU[Z�PU�[OL�*P[`�HYL�^LSS�H[[LUKLK��City Council is active and the drive to create change and harness energy from this engaged community is apparent thought the diversity of projects the community proposed through the Resilient Communities Project.


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Previous/Existing Arts Activities

The most prominent piece of public art in North St. Paul is the world’s largest stucco snowman. The 54-foot tall snowman, which used to sit on the southeast corner of 7th Ave and Margaret Street (the downtown area) is now located just off Highway 36. An additional major attraction in the area includes the North St. Paul History Cruze Car Show. This car show has been held since 1996, and lasts 3 month summer festival from June to September. This event is held by H�UVU�WYVÄ[�NYV\W�VM��]VS\U[LLYZ�VM�5VY[O�:[��7H\S�/PZ[VY`�*Y\aLYZ��and it is sponsored by local businesses.

S2P proposes utilizing the existing enthusiasm around the car show to incorporate art activities during the same time frame. The car show draws crowds that come to see cars parked along a half- mile Z[YL[JO�VM��[O�(]LU\L��;OL�Z[YLL[�JSVZLZ�[V�V[OLY�[YHMÄJ�MVY�[OL�UPNO[��0[�is a fair like atmosphere that prevails with street vendors, music and food selling. This atmosphere is conducive to an arts festival as well which could happen simultaneously, and capitalize on the existing crowds.

Recently, the new Veterans Park broke ground and development is progressing. This new park provides a great opportunity to include new art workthat could honor veterans and the rich history of North St. Paul.

Precedent Public Arts Plans

Other cities and communities have developed successful public art plans through inclusive participation processes. S2P regularly tracks these kind of projects and learns from their successes and missed opportunities. A great precedent like Seattle’s Central District’s 2011 public art plan provides an example of how a community can frame a series of public participation events to foster support for the plan and build the capacity of residents to engage in the future. The Central District community held a series of workshops focusing on key identifying issues, using the events to foster dialogue among neighbors, include art from the outset and provide an organization structure that the community could use after the plan was completed.

Alternatively, another precedent project provides an example of what S2P seeks to avoid in the participation planning process. While the San Diego 2004 Public Art Master Plan provides many valuable suggestions of ways for policymakers to advance the arts, the process of creating the plan itself involved very few residents. While consultants like S2P were hired to do research, they simply WYLZLU[LK�[OLPY�ÄUKPUNZ�PU�ZSPKLZOV^Z�[V�YLZPKLU[Z�HUK�KPK�UV[�create opportunities for dialogue or feedback. Most of the planning decisions were made by a small steering committee who engaged in interviews with community leaders, but never reached out to a broader public. Focus groups and charrettes were limited to design professionals and those already engage in the process, instead of used to include new members of the public in the process.

Learning from these examples, S2P proposes a public art participation process that seeks to engage a wide range of North St. Paul residents in an interactive and creative process that stimulates new ideas, empowers residents to take ownership of their public spaces, and builds community capacity to continue the act of placemaking beyond the time frame of the planning process.

“Through art planning, neighbors

FDQ�oQG�FRQVHQVXV�RQ�LGHDV��SULRULWL]H�SURMHFWV��DQG�LQLWLDWH�WKH�momentum to bring more art into

public spaces. At a time when budgets

are tight and art funding is being cut

across the board, [public engagement

in the development of a public

art plan] is WKH�oUVW�VWHS�LQ�DFWLQJ�together to bring about the creative

and meaningful social change that

public art provides.”

– Seattle Central District Public Art Plan


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Approach

S2P understands that the process of facilitating community

participation in North St. Paul’s efforts to develop a Public

Art plan is arguably just as important as the resultant plan

itself. Public art is a part of a broader effort of placemaking: it is an articulation of the character of a community that reinforces a unique ZLUZL�VM�WSHJL�HUK�YLÅLJ[Z�[OL�ZWLJ[Y\T�VM�]HS\LZ�VM�H�JVTT\UP[ �̀�Public art programs are thus more successful at representing a community when a broader group of people collaborate to establish them. S2P proposes a public participation program that emphasizes the “making” of placemaking and provides an array of opportunities for residents to engage in and creatively contribute to the process. By strategically engaging a wide range of residents through creative, iterative and ongoing actions and events, S2P can help empower the North St. Paul community to not only create a public art plan [OH[�YLÅLJ[Z�[OL�JP[`»Z�L_PZ[PUN�JOHYHJ[LY��I\[�HSZV�LZ[HISPZO�H�[OYP]PUN�network of people and resources that continuously strengthens the livability of North St. Paul’s public space and improves the community’s overall quality of life.

A resurgence in public art programs has swept the nation in recent years as part of a broader effort of cities to create quality public spaces that increase quality of life for residents, spur economic development and advertise the community’s character. This placemaking movement is in part a response to the previous modernist era of citymaking that resulted in urban spaces created with little to no public input and also to auto-based sprawl development that created commercial and residential neighborhoods that do not always feel “walkable.” Many communities like North St. Paul are now coming together

to reinvigorate urban spaces with people-friendly characteristics like public art, events, sidewalk improvements, downtown facade improvement programs and more. Cities throughout history have MLH[\YLK�JP]PJ�ZWHJLZ�HUK�W\ISPJ�HY[�[OH[�YLÅLJ[LK�[OLPY�J\S[\YL�and helped to glue their communities together, but while many communities North St. Paul recognizes the importance of doing so, few cities are in a position to create new swaths of public land or commission massive, iconic structures. Instead, cities across the world are discovering that public art and identity are not formed simply through iconic and static objects, but also through more transient art and events and the process that leads to their creation.

By stimulating iterative interactions and community dialogue, a successful participation process around public art is part of that placemaking initiative. S2P’s participation process plan is centered around developing existing assets in North St. Paul

by empowering residents to be creative and engaged in local

public affairs. S2P proposes that the participation process is itself a form of public art, consisting of creative, temporary events designed to “activate” spaces and encourage interaction. By engaging a range of residents (both veteran, “usual suspects” of participation and new participants–see Stakeholders below) through a spectrum of activities (ranging from short conversations to intensive charrettes–see Techniques below), our proposal aims [V�I\PSK�[OL�RPUK�VM�ZVJPHS�JHWP[HS�[OH[�\S[PTH[LS`�W\[Z�H�ÄYT�SPRL�V\YZ�out of business. Thriving participation in the public art planning process can create a virtuous cycle that shapes the environment to facilitate even more social interaction and further improve quality of life (Silderberg 2013).

This virtuous cycle, in which residents transform spaces

into quality places that then inspire even broader support of

ongoing improvements,�JHU�WYV]PKL�THU`�ILULÄ[Z�[V�5VY[O�:[��Paul in addition to a rich Public Art Plan. Empowering people to feel ownership over their public space can have “trickle-up” effects that spur economic development, quality of life and a community’s identity and reputation. By building a proactive, creative culture of participation, our proposal can also help to generate support for other initiatives, like North St. Paul’s downtown Facade Improvement Program and downtown revitalization efforts. A diverse participation strategy like the one proposed here helps to facilitate long-term engagement by avoiding participation fatigue and encouraging residents to explore innovative solutions. Creative activities can stimulate new ideas and help build consensus on controversial issues facing North St. Paul, like the balance of historic architecture and new commercial development. A participation process that takes place in a variety of locations can help to connect neighborhoods. Community interaction in general can help promote social justice and grow sustainable projects.

James Surowiecki cites three conditions for generating wisdom within a crowd: diversity, creative thought and decentralization (Surowiecki 2004). S2P’s proposal aims to foster these conditions by using a wide range of strategies to interact with a diverse group of residents, by inspiring creative thought through creative activities and by empowering residents to take on initiatives alongside organizers and city staff. S2P strives to incorporate these three conditions along with other creative approaches to spur the engagement process and foster a sense of empowerment and excitement around the possibilities for public art.


S2P understands that the process of

facilitating community participation in

North St. Paul’s efforts to develop a Public

$UW�SODQ�LV�DUJXDEO\�MXVW�DV�LPSRUWDQW�DV�the resultant plan itself.

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Goals

The goals of this engagement program are broad but achievable. S2P believes that it is important to place this participation process within the broader context of North St. Paul’s efforts to grow community engagement. Some of the goals of the public art participation WYVJLZZ�SPZ[LK�ILSV^�HYL�ZWLJPÄJ�[V�[OL�W\ISPJ�HY[�WSHU�HUK�V[OLYZ�Z\WWVY[�H�IYVHKLY�JVTT\UP[`�]PZPVU�HZ�L_WYLZZLK�I`�[OL�5VY[O�:[��7H\S�community.

1. Determine the kind of art that residents desireThe options for the form of public art are seemingly endless. Determining what art is appropriate for North St. Paul is up to the community. Finding art forms that are broadly supported by the community will have a direct impact on the staying power of that art. As such, engaging the community in determining the style(s) of art to pursue is a central goal of this plan.

2. Determine where residents would like to add artThe environment of an art piece can be as important as the installation itself. It could be located in parks, downtown, residential areas or near streets and trails. The participation process aims to explain the range of options and determine where residents would like to see art installed or performed, as the case may be.

3. Identify and engage community assetsEvery community is endowed with its own unique set of assets. These asset may take the form of relationships, historical knowledge, artistic skills, or leadership skills, among a great many others. Identifying these assets and effectively weaving them into the social fabric of the community is a key goal of this participation plan.

4. Build social capitalThis is a broad but very important goal. There is very real societal value in social networks (Putnam, 2000). Minnesota is known for having a relative abundance of social capital, and North St. Paul is in a great position to improve its own. Within this goal is an attempt to develop ‘embedded’ deliberation as a conduit through which to cultivate social capital and strengthen the community’s fabric. Embedded deliberation focuses on broad and long-term involvement as opposed to limited involvement for a limited goal (Fagotto and Fung, 2009).

Stakeholders

In addition to utilizing expertise from former arts council participants, we seek to partner with the Metropolitan Consortium of Community Developers (MCCD), and local leaders in the Economic Development Authority. Incorporating the civic engagement processes outlined in this proposal, will also include collaborating with North St. Paul businesses to partner with the Facade Improvement Program offered by the City. By incorporating these existing organizations, S2P hopes maintain long-term partnerships with MCCD and the business community in North St. Paul.

Identifying stakeholders and stakeholder analysis

Although the population in North St. Paul is relatively small, there are a large variety of stakeholders that can and should be apart of this process. S2P is cognizant not only of the objectives of the participation process but also of who should be engaged and when, power dynamics, and best way to organize and engage stakeholders. One way to accomplish outlining potential stakeholders is through a power and interest chart. Through charting out the various stakeholders listed below, and continually revisiting these charts, S2P will have a documented and thorough approach in which to identify stakeholders as the process evolves.

Business Community

Much of the programming involved in this proposal occurs in the downtown area of North St. Paul. Attracting community members to participate in the public arts planning process will inevitably attract more people to the the central business district. We hope that as a byproduct, participants will patronize local businesses who very well may be sponsoring these projects. Local businesses will have [OL�VWWVY[\UP[`�[V�ZWVUZVY�HY[�WYVQLJ[Z�I`�WYV]PKPUN�WO`ZPJHS�ZWHJL�V\[ZPKL�VM�[OLPY�Z[VYLMYVU[Z�HZ�^LSS�HZ�ÄUHUJPHS�Z\WWVY[��>OPSL�UV[�mandatory, sponsorship is win-win for both business owners and the arts community. Sponsorship provides an opportunity for business V^ULYZ�[V�HK]LY[PZL�HUK�THYRL[�[OLPY�I\ZPULZZLZ��HUK�WV[LU[PHS�MVY�PUJYLHZLK�MVV[�[YHMÄJ�[V�[OLPY�Z[VYLMYVU[Z�^OLU�HY[Z�L]LU[Z�[HRL�WSHJL�in the downtown business district. Based on four prior sponsorship opportunities proposed by the former arts council, local business will have the opportunity to engage with this process though events that were similar to those in proposed in 2008:

Art on the Street (street chalk drawing contest), Spring Art Exhibit ( an exhibit by invitation for local organizations to present their art to the public) Fall Art Exhibit (an exhibit of local artist’s 2 and 3-dimensional pieces)Snow Frolics: Snow Carvings (snow sculptures along 7th Avenue).


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Funders

Funding for projects both large and small scale should not be a burden to local business who may partner to sponsor projects. In addition to partnering with local business in North :[��7H\S��[OLYL�HYL�H�]HYP[`�VM�ÄUHUJPHS�IHJRPUN�MVY�TVYL�WLYTHULU[�M\UKPUN�H]HPHSISL�MYVT�organzations around Minnesota. Beause the state has a decentrailized funding system for the arts, the Forum of Regional Arts Councils of Minnesota (http://www.arts.state.mn.us/racs/forum.htm) is a hub for funding options. City staff or members of the Arts *V\UJPS�^V\SK�IL�OPNOS`�X\HSPÄLK�[V�^YP[L�NYHU[Z�[V�ZLLR�M\UKPUN�MYVT�[OLZL�ZV\YJLZ��0U�addcition to the Regional Arts Council resrouces, http://www.mncitizensforthearts.org/learn/grantsinfo/ provides connections private pro-art foundations and philantropists. The Minnesota State Arts Board http://www.arts.state.mn.us/ also provides grants for “Partners in Art Particiaption” pilot program which offers funding up to $25000. Tapping into regional and statewide resources is key once community members in North St. Paul are further along in the participatory process and establish what kind of projects they would like to see in the city.

Youth

Input and feedback from youth is often overlooked in planning processes. S2P’s goal is to incorporate a diverse range of stakeholders and participants in the arts process, including youth and young adults in North St. Paul. We seek to collaborate with District 622 schools to incorporate arts activities in after school programs. Youth are welcomed and encouraged to participate in the arts festival, pop-up events, and submit their own artwork in potential juried shows or other exhibits. We would also encourage a youth representative to join the arts council to include a young generation perspective.

Seniors

North St. Paul has an active population of senior citizens, many of whom have been involved in Resilient Communities Project (RCP) activities already. S2P seeks to tap into this energized group of seniors who are participating in RCP projects to add their voice to the arts planning process as well. Seniors in North St. Paul are especially knowledgeable


about the culture and history of the city. S2P recognizes the importance of local knowledge and sensitivity to maintaining a strong connection to the historical aspects of Norht St. Paul while introducing new and exciting public arts projects. arts projects.

University of Minnesota Resilient Communities Project

As mentioned, RCP has multiple existing ties with the residents of North St. Paul. While RCP will wrap up at the end of the 2013-2014 school year, the relationships with North St. Paul and University of Minnesota will continue. S2P would like to be a part of this partnership and continue the relationship with the University and North St. Paul by connecting willing University arts faculty and students to provide support and encouragement to ongoing arts projects in the City. Continuing this partnership will allow for more student participation and increase potential to establish long-term arts projects with continued support from University resources. There is a wealth of potential in uitlizing connections with the Unveristy. For examples, students can provide internship hours to help write grants, facilitate meetings, and even create pop-up events.

Tourists and visitors: Connecting to the Gateway Trail

:�7�ZLLZ�WV[LU[PHS�PU�KL]LSVWPUN�^H`ÄUKPUN�ZPNUHNL�[OYV\NO�T\YHSZ�VY�V[OLY�HY[�WYVQLJ[Z�[V�IL[[LY�connect users of the Gateway Trail into the City. The snowman off Highway 36 is a great start to this effort. Using place-based techniques detailed later in this proposal, is one way to establish more art along the trail and increase visibility of North St. Paul to tourists and visitors to the area. Establishing exactly where to place such signage or murals will be at the discretion of North St. Paul residents and those engaged in the participatory planning processes.

Arts Council and City Staff

Reestablishing the Arts Council is one way to link local governmental back to the community led LMMVY[Z�^L�WYVWVZL��;OLYL�PZ�ÅL_PIPSP[`�PU�[OL�^H`�[OPZ�JV\UJPS�JHU�IL�LZ[HISPZOLK��HUK�^OLYL�K\YPUN�[OL�WOHZLZ�VM�[OL�WYVJLZZ�[OL`�JHU�Ä[�PU��>P[O�Z\JO�H�JVTT\UP[`�SLK�HWWYVHJO�[V�PUJVYWVYH[PUN�HY[Z�PU[V�the City, we forsee most decisions made by community members, but encourage them to be part of study circles, advisory teams and in other leadership roles. - 14 - - 15 -

Potential Barriers to Engagement

The stakeholders outlined in this plan is just a starting point of whom can, and should be involved in the planning process. It is important to keep in mind potential barriers that may themselves pop-up during the process. These potential challenges could include engagement fatigue, unclear objectives and funding challenges, and establishing long-term buy in and commitment from City staff and community residents.

To combat some of these issues, S2P has suggested ways to incorporate those who are not usually involved in civic activities ways to be involved in the arts process. They are described in depth in our work plan but include multiple outlets in which stakeholders can choose to be involved including: at events, with outreach and marketing efforts, and in leadership roles in the council or study circles.

Objectives and goals will become more and more clear as the planning process and arts S2P events take place. While they may seem unclear towards the beginning of the process, having events and public arts more readily accessible to the North St. Paul community will help increase dialogue and conversation about ZWLJPÄJ�NVHSZ�HUK�PTWVY[HUJL�VM�W\ISPJ�HY[�PU�5VY[O�:[��7H\S�


Artists

Artists themselves are an obvious key stakeholder in establishing more public art in the City. Through the place making activities described in our techniques and work program, S2P invites artists of all skill levels to contribute to the arts scenes. The arts festival provides an opportunity for professional artists to display their work. More causal events throughout the year such as such as opportunities for sidewalk chalk art allow for all skill sets to contribute to the arts scene.

By partnering with some funding sources, S2P foresees the possibility of inviting professional artists to be more and more involved in the process as the arts plan comes to fruition and the community decides what they would like to see in the City.

Creative Placemaking Agencies

Recently, Intermedia Arts in Minneapolis concluded a successful project titled “This is Our City” which incorporated City of Minneapolis planners and local artists who worked with youth and arts projects to engage residents in City planning processes. This collaboration resulted in three creative projects that increased community dialog around civic issues. Although these projects were based in the Twin Cities on a much larger scale, the model in which they were carried out could be very applicable in North St. Paul. “This is Our City” was successful in engaging underrepresented communities in developing “vibrant urban spaces.” North St. Paul could take advantage of their recent successes and lessons learned through their similar engagement process. (http://www.intermediaarts.org/This-Is-Our-City).

- 16 - - 17 -

Techniques

S2P proposes a wide variety of methods to engage the public in developing the Arts Plan. These methods include new technologies (e.g. social media) and innovative interactive events (e.g. pop-up parklets), as well as more traditional participation events like open houses. The mixture of techniques will help capture the input of a diverse cross-section participants, including those who are traditionally underrepresented as well as the “usual suspects” in participation processes.

These techniques can been divided into three general categories; events, outreach/interaction and advertisement. Events include the most active engagement strategies while outreach/interactions attempt to reduce barriers to involvement. Interactive techniques are generally used to augment meetings, but they HYL�IYVHKLY�[OHU�[OH[��;OL�ÄUHS�JH[LNVY`�JHW[\YLZ�TL[OVKZ�VM�advertising and miscellaneous involvement (such as through social media). All of our methods are listed below.

Arts Fest

S2P proposes an Arts Fest that will be central to the success of the engagement plan. This proposed event is a keystone to our proposal and serves innumerable invaluable functions. Structurally, the event could take a variety VM�KPMMLYLU[�ZOHWLZ��HUK�[OL�ÄUHS�MVYTH[�^PSS�KLWLUK�VU�[OL�M\Y[OLY�KLSPILYH[PVU�^P[O�JP[`�Z[HMM��/V^L]LY��V\Y�IYVHK�vision of the event sees an Arts Fest taking place in on 7th Avenue in downtown North St. Paul at the beginning of the summer. The Fest could be a one-day or weekend-long affair, depending on the scope. The street would be lined with tents with local crafts and food as well as live music. This event could be tied to North St. Paul’s iconic summer car show in order to draw attendance, or held separately all-together if residents and city staff think it could succeed on its own.

The goal of the Arts Fest is to advertise the Arts Plan planning and participation processes in a fun and public way. The Fest could either be a one-time event that informs the public about the public art plan, or it could begin to attract residents to the ideas of public art and start to form new community interest in the subject. S2P will create a framework for the event and make it replicable and available to any North St. Paul residents interested in pursuing subsequent events.

The Fest itself would showcase crafts made by residents themselves. This will be a good way to identify proactive and artistic residents. These folks will make good candidates for team leaders or a future arts council (discussed further below). They also may be good candidates for creating future art. The Arts Fest is a perfect venue to highlight those existing community assets. In addition, North St. Paul can invite regional artists to advertise their work. This will give residents a chance to see what’s out there and speak with the artists that are create public art. Finally, include a Arts Plan booth to advertise the upcoming engagement plan and invite interested volunteers.

(Z�H�ÄUHS�[OV\NO[��[OL�(Y[Z�-LZ[�JV\SK�IL�[PLK�^P[O�V[OLY�J\YYLU[�VY�M\[\YL�JVTT\UP[`�PUP[PH[P]LZ��;OPZ�TPNO[�IL�HU�ideal opportunity to advertize community gardens, reach youth, seniors & busy families, discuss revitalization of downtown, etc. Further opportunities available through the Arts Fest will be discussed below.


- 18 - - 19 -

Creative workshops (charettes)

Charrettes are intensive brainstorm sessions, ranging from several hours to a number of days. Charettes are a great way to get people thinking creatively about how they would like to incorporate art into their community. For this proposal, a traditional charette format of a 4-day retreat would be less helpful than several short and fast brainstorm sessions, hosted at a variety of times to accommodate residents with different busy schedules. Charrettes will provide free snacks and childcare (in fact, children are encouraged to participate themselves). Several breakout brainstorms, group ideation ice-breakers, collaborative drawings and other activities will lead to a long list of ideas. The goal of the charrette is to come up with as many ideas as possible–there are no bad ideas–in order to bring as many people to the “drawing table” as possible and to encourage creative approaches to the public art plan.

School events

Introducing children to art-making is part of our proposal and an important component of supporting public art. Children not only bring energy and vitality to events like the Arts Fest, but they also engage their parents and can provide an opportunity for entire families to participate in the planning process through their presence. A series of creative events (resembling charrettes) will be hosted at several local elementary, middle and high schools. Children engagement in these events will be combined with existing art education: children will be asked to draw what they think the future of their streets and will be guided by art teachers.

“Classic” public meetings

Monthly public meetings will be hosted in an open house format to allow interested residents to receive updates on the public art plan planning process, as well as the ongoing participation process, and voice feedback or opinions. These more “traditional” meetings will be held in city hall or the public library and be used to engage residents who are expecting conventional outreach approaches by the city of North St. Paul. These meetings will discuss topics like public art form preferences, potential locations for public art, public art outreach strategies and meet-and-greets for planners, S2P and the public.


Gorilla Art/Pop Up Outreach

“Pop-up” events are temporary ways to “activate” a public space (like a sidewalk or downtown square, or even a parking space). As a key feature of our public participation process, S2P proposes strategically planning the location and timing of events throughout North St. Paul that will attract a high volume of passersby or nearby residents. These creative events attract attention and encourage interaction–for example, a table of free coffee or lemonade along with a ping pong table downtown may attract shoppers to stop and talk with the event organizers. The nature of these events can be very ÅL_PISL�HUK�JYLH[P]L��HUK�[OLPY�KLZPNU�HUK�VWLYH[PVU�should eventually be done by residents themselves. These temporary events will be used to advertise the participation process in general, reach a wide variety of people, encourage creative thinking and begin to empower residents to take ownership of the process itself. S2P will host these events in a variety of SVJH[PVUZ��PUJS\KPUN�OPNO�[YHMÄJ�HYLHZ�HUK�HYLHZ�^P[O�underrepresented residents. Our goal is to recruit participants not only to provide feedback to city staff on the public art planning process, but also to create public art themselves through their participation, and to consider hosting similar events on their own with S2P’s support. By encouraging people to play, talk, make and think, these events start to foster a community of creative proaction.

- 20 - - 21 -


Study circles

Study circles are regular gatherings of committed residents to discuss issues of concern. Modeled after the successful format of study circles in Kuna, Idaho, these events will be held during the public art planning process but be encouraged to continue afterward. Study circles can be an effective way for residents to gather to discuss their vision for their community and for city staff to hear and respond to feedback.

Visual preference survey

A predesigned visual preference survey will be offered to North St. Paul residents online and at each of the events in this proposal. This survey will allow residents to engage in a less active or direct way with the process but still share their preferences for different forms of public art and how they can be located within a downtown context. The results of this survey will be made visible online and shared with participants at later events.

Meals and food at events

S2P recognizes that food is an important part of community. Food can also be a huge draw for residents to engage in public events, especially those with busy schedules or for whom resources are scarce. Food is also a creative endeavour in and of itself, and creative food can encourage creative ideas. Foods with different “artistic theme” will be provided at public events, including “do it yourself food” YHUNPUN�MYVT�¸WHPU[LK�WHUJHRLZ¹��[V��¸WPaaH�THWZ¹��^OH[�HYL�[OLZL��`V\�HZR&�*VTL�[V�HU�:�7�L]LU[�[V�ÄUK�V\[��:�7�PU[LUKZ�[V�PU]P[L�SVJHS�vendors to supply refreshments or ingredients whenever possible.

Story-sharing event / activity Inspired by Storycorps in New York City, story-sharing events will be a part of S2P’s public participation process. Every person has experiences that make great stories, but sometimes they need spaces to allow them to share them. Sharing stories publicly helps build a sense of community between those listening and sharing, and helps community members enhance their understanding of their own neighbors. In addition, the stories shared by participants become the fabric of community that public art helps to express. These stories will be shared verbally and in written form through mobile storyboards brought to public events and pop-up events on 7th Street in downtown North St. Paul. Designed by local artists, these boards will both display the stories of others while allowing residents to record their own.

These stories will be focused on the history of public space and creative history of North St. Paul. While the stories themselves may not inform the Public Art plan, the process of engaging with residents in such an intimate way helps to build awareness of North St. Paul’s inherent creativity and identity and also inspires participants to engage with the planning process.

Food can be a draw for residents to engage in public

events, especially those with busy schedules or for

whom resources are scarce. Food is also a creative

endeavour in and of itself, and creative food can

encourage creative ideas.

- 22 - - 23 -

Website

Although North St. Paul residents may have a range of technical ability and internet access, a website is a crucial part of our participation plan. The website will post all past and future events, results from surveys and brainstorms, FAQs, forums and feedback opportunities. S2P has dedicated staff to constantly update information and manage social media applications.

Online interaction is a helpful way for many residents to contribute their thoughts. An easily navigable website with repository of information (both about the public art process and about North St. public art in general, including a public art inventory) provides an entry point for those curious in ongoing events and more dynamic interaction. A comment page would help capture the input of people too busy to attend meetings, and a digital version of the visual preference survey discussed above will be available.

Advertize through traditional outlets

Information about the public art planning and participation processes and related events like the Arts Fest will be shared with regional newspapers, local newsletters, churches, radio and television. The process will be branded and consistent to be easily recognizable and help listeners, readers and viewers to identify the participation process by name and know about upcoming events.

Cover Letter Overview The Participation Plan Work ProgramOur goal is to recruit participants not only to provide

IHHGEDFN�WR�FLW\�VWDII�RQ�WKH�SXEOLF�DUW�SODQQLQJ�SURFHVV��but also to create public art themselves through their

participation, and to consider hosting similar events on their

own with S2P’s support. %\�HQFRXUDJLQJ�SHRSOH�WR�SOD\��WDON��PDNH�DQG�WKLQN��WKHVH�HYHQWV�EHJLQ�WR�IRVWHU�D�FRPPXQLW\�RI�creative proaction.

- 24 - - 25 -


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- 26 - - 27 -

Work ProgramThe Work Program explains how the planning and participation processes are organized into a coherent whole. A preliminary [PTLSPUL�PZ�WYVWVZLK��YLZWVUZPISL�WHY[PLZ�HYL�PKLU[PÄLK�HUK�TLL[PUN�structures are explained. The work program is divided into three PKLU[PÄHISL�WOHZLZ��7OHZL�0�MVJ\ZLZ�VU�[OL�(Y[Z�-LZ[��7OHZL�00�PZ�MVJ\ZLK�VU�[LHT�PKLU[PÄJH[PVU�HUK�M\SS�ZJHSL�W\ISPJ�WHY[PJPWH[PVU�WYVJLZZLZ��;OL�ÄUHS�WOHZL��7OHZL�000��MVJ\ZLZ�VU�[OL�P[LYH[P]L�WYVJLZZ�VM�WSHU�WYVK\J[PVU�HUK�YLÄULTLU[��Bold text highlights items that correlate with the Work Program graphic on page 26.

Phase I

The centerpiece of Phase I, as noted above, is the Arts Fest. If the event is held mid-summer, planning for the event should begin in the winter at the latest. Ample time should be given to those hoping to host a booth so advertising should begin as soon as the event MVYTH[�PZ�ÄUHSPaLK��;OLZL�^PSS�IL�WSHUULK�HUK�VYNHUPaLK�I`�V\Y�ÄYT��city staff, downtown business owners and local residents. Business SLHKLYZ�HUK�YLZPKLU[Z�^V\SK�PKLU[PÄLK�[OYV\NO�HU�VWLU�]VS\U[LLY�process. Business could be contacted direction. Residents could IL�YLHJOLK�[OYV\NO�LTHPS��UL^ZWHWLY�HK]LY[PZLTLU[Z�HUK�ÅPLYZ��

Paralleling Arts-based Event Planning would be website

development and general advertising for the event. During this phase, the website would serve the simple function of providing information. No dynamic functionality would be incorporated yet. It will be used to advertise the Arts Fest and the Arts Plan, provide a schedule of events, and provide links to other sample arts plans. In the future, the website would also serve as a way to publish input

from meetings. This would help reinforce the importance and value of participation. It would also communicate to the community that they are being heard. This input could include results of the visual preference survey or maps highlighting where people want art or the art produced by children at the school arts program. In general, we think it would be helpful for the community to see what progress has been made and what others are thinking. Advertising would include an expansion of the efforts noted above. It should also include direct outreach to regional artists.

The next step, which is dependant upon the success of the Arts Fest and advertising, focuses on [LHT�PKLU[PÄJH[PVU� As is noted above, this team is valuable to the community far beyond its responsibilities with the Arts Plan. They will make strong candidates for a future Arts Council or leaders of future study circles. We suggest that the team be comprised of some mixture residents and business leaders that helped organize the Arts Fest (they’ve already shown themselves to be proactive and organized), residents who hosted booths (the artistically inclined), and any additional residents that expressed a particular interest in the Arts Plan at the Arts Fest (through the Arts Plan booth).

If the Arts Plan is to have any endurance, it is important that it grow from within the community. Thus, the planning consultants, V\Y�ÄYT�HUK�JP[`�Z[HMM�^PSS�HJ[�PU�HU�HK]PZVY`�JHWHJP[`�MYVT�[OPZ�point forward. Final decisions and direction must stem internally from the team, which is why plan and participation scoping and Z[HRLOVSKLY�PKLU[PÄJH[PVU�VJJ\Y�HM[LY�[OL�[LHT�PZ�PKLU[PÄLK��>L�have proposed a tentative framework, but it is ultimately within the jurisdiction of the team to determine how best to proceed. The three components above are unique but very interrelated so they will


happen concurrently. Our team will begin by describing describing example plans, highlighting the strengths and weaknesses of various participation techniques (as well as our tentative framework), and list methods of stakeholder analysis. From that point, the team will begin crafting their own list of stakeholders (who will be contacted as potential team participants) and vision for the plan and participation process.

Phase II

After the scope of participation efforts has been decided, the team will step back as the events are advertised to the community at large. The advertisement will include many of the techniques listed above. It may also include targeted ways of reaching out to residents. North St. Paul residents likely have valuable suggestions for advertising the meetings to their neighbors. We anticipate that [OLZL�Z\NNLZ[PVUZ�^V\SK�Z[LT�MYVT�[OL�SLHKLYZOPW�[LHT�PKLU[PÄLK�PU�Phase I.

Next, the full-scale participation process begins. We have suggested a variety of events, which we believe would provide valuable guidance in developing the Public Arts Plan. However, these methods will depend on the participation scope developed by the team. The methods include school art, guerrilla art/booths,

paint ‘n pancakes, church visits, study circles, traditional open

houses, and an online survey and forum. Across the spectrum, meetings will be hosted by team members with the support of S2P. School art would be a useful way to capture what the youth of North St. Paul would like to see in terms of art. This would also serve as a way to advertise the plan to busy parents. Potentially, school art would be scheduled slightly earlier that other events

[V�TH_PTPaL�[OPZ�ILULÄ[��.\LYPSSH�HY[�IVV[OZ�^V\SK�IL�VYNHUPaLK�[OYV\NOV\[�[OL�JP[`�PU�HYLHZ�HUK�H[�[PTLZ�^P[O�OPNO�MVV[�[YHMÄJ�HJYVZZ�the participation process. It provides an opportunity to reach out to those too busy to attend meetings as well as advertize future meetings. The more traditional events, like the open houses and study circles, afford residents opportunity to engage the arts plan more broadly and deeply. Each would include a presentation and input period. The input from these meetings and all meetings in 7OHZL�00�^V\SK�MLLK�KPYLJ[S`�PU[V�[OL�ÄYZ[�WSHU�KYHM[��-PUHSS �̀�[OL�website would be expanded to include a comment forum and a digital version of the visual preference survey.

0YYLZWLJ[P]L�VM�[OL�KLZPNU�VM�[OL�ÄUHS�LUNHNLTLU[�WYVNYHT��[OL�efforts should be focused on answering three central questions: what kind of art do we want, where do we want art, and how will we accomplish this goal (through reinstatement of the Arts Commision perhaps?). In addition to focusing on the City as a whole, these questions should be considered in the context of the downtown business district, which the city is making an effort to revitalize. One of the City’s ongoing efforts to revitalize downtown includes the Facade Improvement Program. Some of the meetings should be focused on deciding how to appropriate a portion of these resources to downtown art. Seperately, at least one part of the engagement process ought to align with the community’s goal of building social fabric, so it should be correlated with the engagement efforts used in other city initiatives, like the community gardens effort. We have proposed the study circle as a proven way of producing embedded engagement, but there other means of achieving the same end. Ultimately we think the form of this embedded engagement will be best determined by the team PKLU[PÄLK�WYL]PV\ZS`�ZPUJL�[OL`�TH`�HSZV�IL�PU]VS]LK�PU�OVZ[PUN�[OL�

- 28 - - 29 -

Intersection of Planning and Participation The planning and participation processes are almost indistinguishable by design. The intent is that it is through local residents that planning be conducted. By empowering local residents, they themselves control and conduct the planning efforts and direction. The consultant team will be available for support in the early capacity building efforts, but the goal is that by the end of the process residents will be largely capable of leading and organizing these efforts on their own. Through this method of engagement, resident are able to participate when they choose, in short term one-time project, and/or in the longer planning efforts. In the proposed program there are only two distinct planning pieces and they both involve writing the actual document. All other tasks are inherently geared towards both participation and planning.

EvaluationThere are two elements in the proposed process that are designed [V�MHJPSP[H[L�PU[LYUHS�L]HS\H[PVU��;OL�ÄYZ[�Z[LW�PZ�[OL�P[LYH[PVU�PU�Phase II between the scoping and public participation steps. If the participation efforts aren’t working as planned, if people aren’t attending, if there is general confusion, this iteration allows the team to regroup and consider improvement to the process. Existing L]LU[Z�JHU�IL�TVKPÄLK�VY�UL^�TLL[PUNZ�JHU�IL�KL]LSVWLK�[OYV\NO�[OLZL�P[LYH[PVUZ��;OL�WYVJLZZ�PZ�TLHU[�[V�IL�VWLU�HUK�ÅL_PISL��,]LU�if the participation program is going well, it may be that residents have suggestions for even better events that could be considered and added in subsequent iteration. There don’t have to be failures to warrant improving the process

The second evaluation step is the feedback loop in Phase III between plan drafting and team meetings, study circles and website comments. If the plan didn’t materialize as the community L_WLJ[LK��[OPZ�PZ�[OL�Z[LW�ÔLYL�[OVZL�WYVISLTZ�JHU�IL�PKLU[PÄLK�

and addressed.

There are many ways to effectively evaluate the success of the participation program. We have proposed as Evaluation Survey (see appendices) as just one way to gather valuable community input on the process. The survey would be administered at the end of a meeting or event and it would focus on a participant’s perceptions of the value of a particular event. This survey is not meant to replace the valuable experiences of event facilitators, but it provide a helpful supplement to their perspectives.

Recommendations: Communication and Documentation;OL�ÄUHS�LSLTLU[�VM�[OL�WHY[PJPWH[PVU�WYVNYHT�[OH[�^HYYHU[Z�ZWLJPHS�consideration is the manner in which information is communicated and how community input is documented. In terms of communi-cation we have made a concerted effort to ensure the process is as broad and diverse as reasonably possible. The goal is both to reach a lot of participants as well as a diverse group of participants, including those typically underrepresented. In order to visually highlight the events/efforts that have a communicative component, we have noted them on the Workplan in the appendices. These events/efforts include the website, advertizing, the arts fest, as well as every community engagement meeting.

We’ve also recommended a diverse set of events designed to pro-vide ample opportunity for community input. As was noted previ-ously, this information will be documented and posted on the web-site for the community to see. After Phase II is complete, the input ^PSS�IL�ZÙ[OLZPaLK�HUK�KL]LSVWLK�PU�[OL�ÄYZ[�HY[Z�WSHU�KYHM[��(M[LY�stakeholders and community members have a chance to review HUK�JVTTLU[�VU�[OL�KYHM[��[OL�KYHM[�^PSS�IL�YL]PZLK�[V�YLÅLJ[�[OLZL�comments. As with opportunities for communication, opportunities to document community input have been added to the Workplan graphic in the appendices.


study circles.

;OL�ÄUHS�HZWLJ[�VM�7OHZL�00�PZ�P[Z�P[LYH[P]L�UH[\YL��0[�TH`�IL�[OH[�[OL�participation plan doesn’t work as the team hoped. For this reason we have recommended a feedback loop between the scoping phase and the participation phase. This affords the team an opportunity to evaluate [OL�Z\JJLZZ�VM�[OLPY�LUNHNLTLU[�WYVNYHT�HUK�THRL�TVKPÄJH[PVUZ�ÔLYL�ULJLZZHY �̀��-VY�L_HTWSL��PM�JVTT\UP[`�TLTILYZ�KVU»[�ÄUK�[OL�open houses helpful but they have been enjoying the guerilla art events, the leadership team of community members can dynamically adjust the participation scope accordingly. Community feedback can be collected informally through conversations or more formally through administration of the survey form provided in the appendices. The length of Phase II will depend greatly upon this feedback.

Phase III

;OL�ÄUHS�WOHZL�PZ�VYPLU[LK�[V^HYKZ�KL]LSVWTLU[�VM�[OL�WSHU��;OL�JVU[LU[�of the Public Arts Plan will be built directly upon input provided from the team and the public during Phase II. This phase will begin with a plan

draft produced by the consultant team. The drafted Plan will then be circulated at team meetings for comment before being introduced to the public through study circles and the website. Comments that surface through the team meetings, study circles and website will be cycled back through the plan drafting step. When a general consensus is produced a Final Draft Public Arts Plan will be released. Draft is included to emphasize the point that this will be a living document. The document JHU�HUK�ZOV\SK�IL�TVKPÄLK�PU�[OL�M\[\YL�HZ�YLZPKLU[Z�ZLL�Ä[��;OPZ�JHU�be initiated by the Arts Council (assuming the community wants to move forward with that) and facilitated through future Arts Fests or targeted study circle discussion (which would have been ongoing as a means of addressing other community issues).

- 30 - - 31 -

ReferencesErickson, Ellsworth, arts council letter, January 17, 2008.

Fagotto, E. and A. Fung. (2009). Sustaining Public Engagement: Embedded Deliberation in Local Communities. Everyday Democracy and the Kettering Foundation.

Jacobs, J. (1961). The death and life of great American cities. Random House Digital, Inc.

Intermedia Arts (http://www.intermediaarts.org/This-Is-Our-City)

7): 1��¸/V^�[V�,UNHNL�3V^�3P[LYHJ`�HUK�3PTP[LK�,UNSPZO�7YVÄJPLUJ`�7VW\SH[PVUZ�PU�;YHUZWVY[H[PVU�+LJPZPVUTHRPUN�¹�-VY�[OL�-LKLYHS�/PNO^H`�(KTPUPZ[YH[PVU�6MÄJL�VM�7SHUUPUN�

Putnam, R. (2000). Bowling Alone: The Collapse and Revival of American Community. New York: Simon & Schuster.

Silderberg, Susan, Katie Lorah, Rebecca Disbrow, and Anna Muessig. Places in the Making: How Placemaking Builds Places and Communities. Boston: Massachusetts Institute of Technology, 2013.

Images from:

Photos of North St. Paul by Nancy FerberPlacemaking images from http://www.asla.org/2011awards/285.htmlArt fest reference images from http://www.cityofeastlansing.com/Home/Main/Newcomers/PhotoGallery/Documentation images http://www.walkthecompliancewalk.com/2010/12/20/what-is-adequate-documentation-for-workplace-investigations/Survey images http://www.survey-reviews.net/index.php/tag/free-online-surveys/

Appendix 1

Sample Survey Form Sample Participation/Comment Card/ Evaluation Form Date of event: __/__/___ Type of event: (circle one) arts festival, study circle, pop-up event, other ____________ (Optional) Your name and best way to reach you if you would like someone to follow up __________________________ & email, phone or address: ______________________ 1. What did you like best about this event 2. What would you have change about future events like this? 3. Have you participated in other arts events in the City of North St. Paul? 4. What kind of art would you like to see more of in this community? Where would you like to see this? 5. Please rate the following :1=not likely, 10=very likelya. I plan to participate in future public arts projects ____b. I think the city has enough festivals and arts activities ____c. I feel like my voice is heard at community meetings and events____

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north st. paul public art participation process...

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