what art for whose city? a case study of social policy making for public art administration in hefei...
TRANSCRIPT
What Art for Whose City?A case study of social policy making for
public art administration in Hefei city, China
Kai Wang
Department of History of Science and Scientific ArchaeologyUniversity of Science and Technology of China
And
Yun MaDepartment of Art and Design
Hefei University
Social Innovation Research ConferenceShanghai, China21st May, 2015
CONTENT1 Introduction and background information
1.1 Urbanisation, public art, and Stakeholder Analysis for social policy
1.2 Overview of urbanisation and public art in Hefei
1.3 Research methodology
2 Public art administration as policy research agenda
2.1 Understanding ‘Public Art’
2.2 Transitional policy-making in China public administration
3 Stakeholder analysis for public art administration in Hefei
3.1 Identifying stakeholders
3.2 Power grid of stakeholders
3.3 Stakeholder development
4 Concluding remarks
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• 1 Introduction and background information
o Urbanisation, Public Art, and Stakeholder Analysis for Social Policy: The global upsurge of public art from the 1980s. Over the course
when the public art established itself globally as the new genre art (Lacy, 1995) which is not merely created for but fundamentally shaped by the public, it provided policy studies with aspirations of social policy.
Since 1978, China experienced rapid urbanisation nationwide, within which public art became progressively the exemplar of creative drivers of urban regeneration, image building and the enhancement of real estate, for purpose of either commemoration or ornamentation.
While public art is frequently mentioned with link to urbanisation in the country, mainly with case study of T-1 cities including Beijing, Shanghai, Guangzhou, and Shenzhen, the three streams has rarely met in serious writing about the experience of T-2 cities including Hefei
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o Overview of urbanisation and public art in Hefei:
The urbanisation rate of Hefei against the national level
Source: National Bureau of Statistics of China; Hefei Bureau of Statistics, various years
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The growth of urban population in of Hefei (in million inhabitants)
Source: National Bureau of Statistics of China; Hefei Bureau of Statistics, various years
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The growth of public place with parks as example (in number)
Source: Yearbook of Anhui Statistics, various years
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The growth of public place with parks as example (in area, hectare)
Source: Yearbook of Anhui Statistics, various years
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o Research Methodology
The survey was designed following three categories, namely the public’s attitudes toward public artworks, awareness of the role of public art, and willingness to participate in public art project
It consists of two parts: questionnaires and investigation on cites for quantitative data collection, and focus group for exchanging and circulating ideas
We organised undergraduates in senior grade at Department of Art and Design in total number of 161, carrying out one-day investigation to all 4 urban districts and 3 development zones in Hefei in April 2013. Public art pieces were examined, while questionnaires were spread collecting answers from local residents
The participant students were divided into 44 focus groups. As part of efforts to initiate stakeholder development, semi-structured discussions were held after each of 5 meetings where participant students did group presentations of their findings in May and June 2013
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• 2 Public art administration as policy research agenda
o Understanding ‘Public Art’ As in late nineteenth-century France, mural painting demonstrated
both the technical skills of the producers and the political ideals of the audience by reflecting a reassuring image of the public. Beyond circulating common aesthetic standards within the artists themselves, public art project at this stage also provided vocabulary of form to the lay people, associating all aspects of commercial and social production with the fine arts in the public mind (Aquilino, 1993).
In the USA, public art was in tight conjunction with the democratisation of politics in 1960s and 1970s. Over the course of time, the established aim of giving meaning to the living environment of the ordinary citizens raised public art, as the democratised art, to be the state ideology (Beunders, 2007).
While in China, as this case study documents, public art as well as demonstration is more about people and place in the changing social life
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As this case study documents, public art as well as demonstration is more about people and place in the changing social life
Emerging issues must be taken into account: Flow-back of migrant workers, Construction of local culture as driving force of economic and social development, Changes of Family Plan policy, etc.
Public art in Hefei
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o Transitional policy-making in China public administration
Evolving modes of policy-making (Wang, 2008): Closed-door (with decision maker as initiator, low public engagement); Mobilization (initiated by decision maker as well, but with high public engagement); Inside Access (with advisors as initiator, low public engagement); Reach-out (initiated similarly by advisors, however, with high public engagement); Outside Access (where citizens serve as initiator, with low public engagement); Popular Pressure (initiated by citizens, but with high public engagement)
‘Decentralisation’ ? Or ‘Variation’?
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‘Decentralisation’ ? Or ‘Variation’?
H1- Higher level public engagement can be stimulated by the rise of popular pressure via stakeholder consciousness.
H2- Social players are getting involved and acting more actively with larger portion of the public becomes engaged
Public art in Hefei
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• 3 Stakeholder analysis for public art administration in Hefei
o Identifying stakeholders
Source: Freeman and Reed, 1983
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Place: state-owned, and commercially developed Ministry of Land and Resource of the People’s Republic of China Ministry of Housing and Urban-Rural Development of the People’s Republic of China Hefei Municipal Government; Property management corporations Property owners; etc. [Ownership]
People: residential, and expertise Local residents Migrant workers Artists etc. [Engagement]
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o Power grid of stakeholders
Bryson’s techniques:
Source: Bryson et al., 2002
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A developmental progress for changing social life where public art gains its status of publicity
Chinese characters in this public art piece installed in a park in Hefei:
Wants, needs, wishes Public art in Hefei
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o Stakeholder development
Stakeholder-based policy making process
Education of stakeholders asIndispensable complement to Freeman’s shift in ‘world view’
Source: Altman and Petkus, 1994
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• 4 Concluding remarks
o Stakeholder Analysis for Social Policy can be performative rather than merely descriptive, by raising the potential power other than including developed ones
o Education of stakeholder provides additional yet critical dimension to a developmental progress of stakeholder-based policy making, so as to avoid the disadvantages of static perspective
o Public art administration in China’s T-2 cities is to largely redraft the policy-making patterns in public affair administration
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