Viability of Local Art Center Presence

Viability of Local Art Center Presence

Imagine a place of refuge, away from the hustle and bustle of the daily ups and downs of life, that could spawn happiness, friendship, and creativity. This place would have meaning to the people who attended it. It would have a strong sense of cohesion and relationship bonds. This place would be a place to escape and create. Art would be the medium. This place would be a center for learning. The community would come together and build a friendship that would be unmatched. The creations of the art center’s community synergy would be life changing and have a positive impact on the community. Could a place that great really exist? Can art prove to be a healing medicine? More importantly, can a place like this be viable and create revenue?

Exploring the importance of a place of peace for refuge is crucial to man’s happiness. Peace comes when stillness and contentment are in harmony. The combination can be reached through art. Whether it be expressionism, abstraction, realism, modern pictorialism, no matter the pursuit art can be and has proven to be the fusing bond for happiness and excellent personal well-being. In the British Medical Journal, the editor R. Smith, wrote, ““diverting 0.5 per cent of the healthcare budget to the arts would improve the health of people in Britain” (1). Restated and as found by Estes and Henderson in their published work Enjoyment and the Good Life, they state that, “Happiness may be found in full engagement in the present through involvement in creative endeavors, or may occur in repose or peacefulness. To become happy, one needs to open oneself to the delights of pleasure and the many wonderful things to enjoy in the world, such as food, art, poetry, music, science and adventure “(Estes & Henderson 1). The secret in establishing this place of peace and wonderful refuge is integrating the place into a receptive and understanding community.

Largely, successful integration within a community involves social acceptance and community involvement. With high values and motives of integrating a community-benefitting art center, the resistance would be minimal. Major benefits include lifelong relationship building, hands-on activity with art, and ability to create identity.

“Community art serves as a catalyst for developing community because it is both the setting for group solidarity building and the symbol of group identity.”
(qtd. In Lowe 357)

Successful cohesion into the community is integral for the longevity of the art center. Lowe in a contemporary sociology study in which she studied the integration of using for community development came across this interesting parallel, “The community-art projects provided neighborhood residents with both a shared interest and a structured opportunity to interact socially, thereby allowing them to discover additional connections and to solidify social bonds. Working together on the projects, although for relatively brief periods of time, offered an experience of community life that inspired feelings of belonging and unity” (366). Thus, we see that bonding community within the realistic and obtainable means with art, can and will create a powerful and worthwhile community enhancing experience for all involved with the creations thereof.

“Organizations are equipped to foster collective efficacy, often through strategic networking of their own or by creating tasks that demand collective responses. “ (Sampson ,158)
Sampson’s statement is based on an extremely in-depth 12-year study of Chicago communities and the life in the city. His research covers a variety of findings and studies that conclude community, the organization and cohesiveness therefore, directly relate to the collective efficacy and altruistic behaviors within. This is one finding and his work is much more thorough than can be summarized here. The important takeaway is that because of this idea of collective efficacy, the bonding and positive beneficial momentum of communities together as a whole, can contribute to sustainable, safe, and benefitting places to live. The community art centers especially if they can be built on viable non-profit companies.

To expound further on the quote by Sampson about organizations being able to demand collective responses, the community center proposed would largely rely on the community integrating together to bind the organization. Synergistically, the binding the organization binds the community members involved in the organizations and directly to their spheres of influence as well. Certain activities within this art organization will create tasks that help to further bind this cohesive collaboration. In a study by Levy and Weber (1), the two studied teen-mom’s in an effort to assess the value of arts-based media programs and identify best practices for personal and social inquiry to share their experiences with other teen moms. The findings were outstanding and completely cemented the need and benefit of having a community–based organization that can not only provide betterment and growth for the individuals, but also for other’s involved with these activities. One activity used for this study was that of art exhibits to showcase the work of the teen-moms. The reasoning behind this was a way to “go public” and also allow the teen moms to take ownership in their work and see how others react to their art.  Overall, the end goal and most impactful of this project was that of the teen mom’s being able to see that their work gave meaning to other’s; that it spoke and gave them a voice to other people.

This example shows another real-world benefit for these art centers. Incorporating study groups or activities as highlighted by Levy and Weber could help to ignite and invite the community to participate in bettering the community.
The final remaining question is that of viability, or profit. Is it possible that such a beneficial and rewarding community outfit can provide both intrinsic individual and community benefits yet also create a steady stream of revenue?

Of course, art is a source of revenue in itself and selling art could provide a means to generating revenue. With an overwhelming market share of $6.64 billion, the past three years have been years of growth for the global art market (ArtTactic 19). To focus in and refine my research, I want to hone in on local markets and the viability of art centers or an art education business. Ideally, if a viable and feasible idea were to come from this research, I would be a fool not to pursue or investigate further the application of such an idea and business model into the private sector. Although, I do find that it chivalrous and noble to operate a non-profit in which to be able to donate a portion of profits to charitable causes (as hinted at earlier with findings of collective efficacy rising with non-profit presence). Another interesting finding done by the Stanford Graduate School of Business showed that non-profits do have an upper hand on for-profit, all they need to do is show competence and that they are not needy (Stanford 1). Overcoming these obstacles in the non-profit industry would indeed prove the viability of such notable organization.

 Regardless of whether the venture is for profit or a non-profit, the idea is a structured model that can maintain sustainability and keep generating profits. The fundamental kick starting for this company however, would reside with the notion that this educational art center refuge would provide and share the amazing and life-changing benefit of understanding and seeing art. The goal would be to offer knowledge and understanding to younger generations for the longevity and growth for the arts.

To investigate further the potential for profit from one of these models I came across was an article summarizing a few different models that are present in the art education business. The art education business has been on the rise since 2002 and has been seeing increases since then. These companies are fairly new, and specifically the art education franchise businesses. Some of the most notable companies in the market right now are Young Rembrandts and Abrakadoodle. Both are leaders in the U.S. market. Their business models differ slightly, yet the approach is similar. They connect young children with art teachers that teach certain aspects of art. The goal is to teach and have the students learn at a young age. An interesting market approach is that these companies can and usually do team up with local schools to provide art education to interested students. This model attacks a unique, niche market, and with the lack of strong competition will succeed and grow quickly given the right conditions. The need and desirability is not entirely quantifiable, as further market research and study would need to be performed. The seemingly most important aspect is that education is becoming an ever-increasing trend nowadays. To top it off, specialization is pushed more and more in the educational system, and what better way to start a blossoming young child on a better path to success than one that has them specializing and learning even in kindergarten or elementary school. 

Shane J. Lopez PhD, a Gallup Senior Scientist, shares a story about his young son and the happiness his son has after attending a summer arts program. He teamed up with the National Endowment of the Arts research director in trying to answer the question of “Does arts participation relate to any facet of well-being?”(Lopez 1). They tracked date from 28 states and compared data from the U.S. Census Bureau’s 2008 Survey of Public Participation in the Arts, and discovered that states with high well-being levels shared a direct correlation with the states that showed high arts participation rates. In regards to his son at his art camp he states,
“I pick him up from art camp in 40 minutes. I have no doubt he will be beaming and ready to update me on his artwork and friends. That’s what happens every time he spends a day at the arts center. Hmmm” (Lopez 1).

Investing in an education is a very popular way to spend money. I have an inner feeling to almost specialize further with this art education business with one that focuses specifically with the medium of photography. Teaching and sharing knowledge on the beauty of photography as an art form would be an exciting ride. Especially to reiterate the point in being able to give that gift of understanding to students by sharing with them the way light and time is captured by a photograph. That idea is intriguingly worthwhile.

This specific focus would create a competitive and transparent model that I believe could be a leader in new and growing industry. As stated earlier, an in-depth market analysis and further investigation of the meshing of the local market it would be entering.
The facts are still present that indeed it is possible to create a viable, impactful local art center. One that will connect and create solidarity that is unrivaled. The potential of creatives synergistically building and creating is limitless. One must now take a step back and realize that this opportunity is immediate and may not last long. The economic condition is right and there are consumers willing to invest educationally for their up and coming children. The time is ripe! The time is NOW!



             

SOURCES

Estes, C. & Henderson, K.. “Enjoyment and the good life.” Parks & Recreation, 22-31. 2003. 29 Nov 2013.

Smith, R. “Spend (slightly) less on health and more on the arts.” British Medical Journal, Vol. 325, pp. 1432-3. 2002. 28 Nov. 2013.

Lowe, Seana S. “Creating Community: Art for Community Development.” Journal of Contemporary Ethnography 29.3 (2000): 357-86. Sage Journals. 2000. Web. 29 Nov. 2013.

Lowe, Seana. “The Art of Community Transformation.”. Education and Urban Society (2001) vol. 33 no. 4: 457-471. Sage Journals. Web. 27 Oct. 2013.

Shkuda, Aaron. “The Art Market, Arts Funding, and Sweat Equity: The Origins of Gentrified Retail.” Journal of Urban History (2012) vol. 39 no. 4: 601-619. Sage Journals. Web. 27 Oct. 2013. 

Lee, Evelyn. "Turning to Art to Bring in Business." NJBIZ 19.44 (2006): 3,3,10. ProQuest. Web. 27 Oct. 2013.

Sampson, Robert. Great American City: Chicago and the Enduring Neighborhood Effect. Chicago: The University of Chicago Press, 2012. Print.

Levy, Leanne, and Sandra Weber. "Teenmom.Ca: A Community Arts-Based New Media Empowerment Project For Teenage Mothers." Studies In Art Education 52.4 (2011): 292-309. Art Full Text (H.W. Wilson). Web. 10 Nov. 2013.

 Lynch, Robert. "The Arts Are Definitely Good For Business." Public Management (00333611) 95.3 (2013): 16-18. Business Source Premier. Web. 27 Oct. 2013.

"Stanford Graduate School of Business Research: Nonprofit's Stereotype can Affect its Ability to do Business." Business WireMar 17 2010. ProQuest. Web. 1 Dec. 2013 .

Daniel T. Barney. and Ashley Mae Hoiland. "The Billboard Poetry Project." Visual Arts Research 38.2 (2012): 39-40. Project MUSE. Web. 7 Oct. 2013. 

Shin, Ryan. "The Business Of Art Education: Friend Or Foe?." Art Education 65.2 (2012): 33-39. Art Full Text (H.W. Wilson). Web. 6 Oct. 2013.

Oliver, James, and Paul Murray. "The Arts, Well-being and Society." Journal of Public Mental Health 6.4 (2007): 6-11. ProQuest. Web. 30 Nov. 2013.

Lopez, J. Shane. “The Hidden Benefits of Participating in the Arts.” Art Works Blog. (2012). National Endowments for the Arts. Web. Dec. 1 2013.

Viability of a Local Art Center (Draft)

Imagine a place of refuge, away from the hustle and bustle of the daily ups and downs of life, that could spawn happiness, friendship, and creativity. This place would have meaning to the people who attended it. It would have a strong sense of cohesion and relationship bonds. This place would be a place to escape and create. Art would be the medium. This place would be a center for learning. The community would come together and build a friendship that would be unmatched. The creations of the art center’s member’s synergy would be life changing and have a positive impact on the community. Could a place that great really exist? Can art prove to be a healing medicine? More importantly, can a place like this be viable and create revenue?

Exploring the importance of a place of peace for refuge is crucial to man’s happiness. Peace comes when stillness and contentment are in harmony. The combination can be reached through art. Whether it be expressionism, abstraction, realism, modern pictorialism, no matter the pursuit art can be and has proven to be the fusing bond for happiness and excellent personal well-being. In the British Medical Journal, the editor R. Smith, wrote, ““diverting 0.5 per cent of the healthcare budget to the arts would improve the health of people in Britain” (2002). Restated and as found by Estes and Henderson in their published work Enjoyment and the Good Life, they state that, “Happiness may be found in full engagement in the present through involvement in creative endeavors, or may occur in repose or peacefulness. To become happy, one needs to open oneself to the delights of pleasure and the many wonderful things to enjoy in the world, such as food, art, poetry, music, science and adventure “(Estes & Henderson 2003). The secret in establishing this place of peace and wonderful refuge is integrating the place into a receptive and understanding community.

Largely, successful integration within a community involves social acceptance and community involvement. With high values and motives of integrating a community-benefitting art center, the resistance would be minimal. Major benefits include lifelong relationship building, hands-on activity with art, and ability to create identity.

“Community art serves as a catalyst for developing community because it is both the setting for group solidarity building and the symbol of group identity.”
(qtd. In Lowe 357)

Successful cohesion into the community is integral for the longevity of the art center. Lowe in a contemporary sociology study in which she studied the integration of using for community development came across this interesting parallel, “The community-art projects provided neighborhood residents with both a shared interest and a structured opportunity to interact socially, thereby allowing them to discover additional connections and to solidify social bonds. Working together on the projects, although for relatively brief periods of time, offered an experience of community life that inspired feelings of belonging and unity” (366). Thus, we see that bonding community within the realistic and obtainable means with art, can and will create a powerful and worthwhile community enhancing experience for all involved with the creations thereof.

The final remaining question is that of viability, or profit. Is it possible that such a  beneficial and rewarding community outfit can provide both intrinsic individual and community benefits yet also create a steady stream of revenue?

Of course, art is a source of revenue in itself and selling art could provide a means to generating revenue. With an overwhelming market share of $6.64 billion, the past three years have been years of growth for the global art market (ArtTactic 19). To focus in and refine my research, I want to hone in on local markets and the viability of art centers or art education businesses. Ideally, if a viable and feasible idea were to come from this research, I would be a fool not to pursue or investigate further the application of such an idea and business model into the private sector. Although, I do find that it chivalrous and noble to operate a non-profit in which to be able to donate a portion of profits to charitable causes. Regardless, the idea is a structured model that can maintain sustainability and keep generating profits. The fundamental kick starting for this company however, would reside with the notion that this educational of art center refuge would provide and share the amazing and life-changing benefit of understanding and seeing art. The goal would be to offer that knowledge and understanding to younger generations for the longevity and growth for the arts.
           
To investigate further the potential for profit from one of these models I cam across an article summarizing few different models that are present in the art education business. Business has been on the rise since 2002 and has been seeing increases since then. These companies are fairly new, specifically art education franchises. Some of the most notable companies in the market right now are Young Rembrandts and Abrakadoodle. Both are leaders in the U.S. market. Their business models differ slightly, yet the approach is similar. They connect young children with art teachers that teach certain aspects of art. The goal is to teach and have the students learn at a young age. An interesting market approach is that these companies can and usually do team up with local schools to provide art education to interested students. This model attacks a unique, niche market and with the lack of strong competition can succeed and grow quickly given the right conditions. The need and desirability is not entirely quantifiable, as further market research and study would need to be performed. The seemingly most important aspect is that education is becoming an ever-increasing trend nowadays. To top it off, specialization is pushed more and more in the educational system, and what better way to start your child on a better path to success than one that has he or she specializing while still in kindergarten or elementary.  Investing in an education is a very popular way to spend money. I have the inner feeling to almost specialize further with this art education business with one that focuses specifically with the medium of photography. Teaching and sharing knowledge on the beauty of photography as an art form would be an exciting ride. Especially, to reiterate the point in being able to give that gift of understanding the way light and time is captured by a photograph is intriguingly worthwhile. 

This specific focus would create a competitive and transparent model that I believe could be a leader in new and growing industry. As stated earlier, an in-depth market analysis and further investigation of the meshing of the local market it would be entering.

The facts are still present that indeed it is possible to create a viable, impactful local art center. One that will connect and create solidarity that is unrivaled. The potential of creatives synergistically building and creating is limitless. One must now take a step back and realize that this opportunity is immediate and may not last long. The economic condition is right and there are consumers willing to invest educationally for their up and coming children. The time is ripe! The time is NOW!



             

SOURCES

Estes, C. & Henderson, K.. Enjoyment and the good life. Parks & Recreation, 22-31. 2003. 29 Nov 2013.

Smith, R. Spend (slightly) less on health and more on the arts. British Medical Journal, Vol. 325, pp. 1432-3. 2002. 28 Nov. 2013.

Lowe, Seana S. Creating Community: Art for Community Development. Journal of Contemporary Ethnography 29.3 (2000): 357-86. Sage Journals. 2000. Web. 29 Nov. 2013.

Lowe, Seana. “The Art of Community Transformation.”. Education and Urban Society (2001) vol. 33 no. 4: 457-471. Sage Journals. Web. 27 Oct. 2013.

Shkuda, Aaron. “The Art Market, Arts Funding, and Sweat Equity: The Origins of Gentrified Retail.” Journal of Urban History (2012) vol. 39 no. 4: 601-619. Sage Journals. Web. 27 Oct. 2013. 

Lee, Evelyn. "Turning to Art to Bring in Business." NJBIZ 19.44 (2006): 3,3,10. ProQuest. Web. 27 Oct. 2013.

 Lynch, Robert. "The Arts Are Definitely Good For Business." Public Management (00333611) 95.3 (2013): 16-18. Business Source Premier. Web. 27 Oct. 2013.

Daniel T. Barney. and Ashley Mae Hoiland. "The Billboard Poetry Project." Visual Arts Research 38.2 (2012): 39-40. Project MUSE. Web. 7 Oct. 2013. 

Shin, Ryan. "The Business Of Art Education: Friend Or Foe?." Art Education 65.2 (2012): 33-39. Art Full Text (H.W. Wilson). Web. 6 Oct. 2013.

Oliver, James, and Paul Murray. "The Arts, Well-being and Society." Journal of Public Mental Health 6.4 (2007): 6-11. ProQuest. Web. 30 Nov. 2013.

Attempting to gain a more thorough understanding visually, I found this Youtube snippet of CBS's 60 Minutes covering the Cabrini Green housing projects. Check it out HERE.

And for the more edgy and dark visual experience about Chicago's infamous public housing units and gang violence that was intertwined within this social community development, watch that clip HERE. 

Watching the above hyperlinked sources I gained a much more intense, and humanly affected experience of how these distraught and infamous neighborhoods filled with "gangs, drugs, misery and murder" looked and behaved. Furthermore, I was able to empirically travel to "Little Hell", a neighborhood housing project plagued by the high-rise containments, as Sampson highlights in his text. He mentions this neighborhood and that of Cabrini Green, a similar public housing creation more negatively plagued, in which both were demolished and rebuilt anew in efforts to improve the former living conditions. Sampson indirectly discusses these were acts of triage and that this sort of pursuit is not viable and not necessarily needed. He does suggest to repair existing structures and to not design escape routes. He points out that if these problems are left unattended, former high-crime destinations will only produce newer versions of concentrated disadvantages. Summarizing his theory from the text, he states 

"… Intervene holistically at the scale of neighborhoods, communities, and cities themselves. Rather than simply move people out of targeted communities, the idea is to renew what is already there while simultaneously investing in communities on the edge of critical need but not yet deemed policy-relevant. Communities can serve as a unit not just of social science theory and method, but of holistic policy intervention that prioritizes the interconnected social fabric." -Sampson (p. 421)

AKA 

Collective Efficacy

I have taken a rather abstract path to answering the posed questions by Professor Jeffrey because I felt it was needed to experience fully, as much as allowed, in this Chicago neighborhood phenomena. Not surprisingly, the basic fundamentals discovered by Sampson in this decade long study exist all around each and every one of us, yet, in different degrees. The basis of this social research ties into each and every neighborhood and community. The "interconnected social fabric" that binds together communities is extremely vital to long-term community welfare. Insomuch that the term or length of community existence is mentioned, it is logical and obvious enough that not only looking from here on out, we must take into account what got us here as well. Sampson did not shy away from this observation and I hinted to the benefit of this investigation earlier in my post when contrasting the most infamous failure of public housing in U.S. history, the Cabrini Green projects. 

All standpoints considered, I do believe community is thriving. The revolution of technology and modern improvement of all kinds, from science to philanthropic efforts, in the world and the communities that make up the world, are becoming a better place. Better is a somewhat general term, and I use the term because describing the omnipotence of the modern world is a lofty accomplishment. Albeit, the transfer and ease of access to knowledge in this 21st century world creates more power. Sampson hit on this point twice referring to the grafittied images he walked past that reflected on the importance of education, and that fundamentally tie to intelligence. The graffiti's message read, " Intelligence is not fighting the powers that be but developing the powers to be."

The second reference came from suggesting that the agenda to evaluate interventions wouldn't be using specific policies as guidance, but rather the goal of researching and positively interlocking social infrastructure in neighborhoods, would be to provide robust knowledge. Knowledge is power, and knowledge is present everywhere today. The 21st century neighborhood is a dynamic, powerful, and ever-changing creation intertwined with social creatures that organize life through individual action. Sampson put his theoretical bets on this idea and I feel as though his claim is fundamental in creating a sustainable community deeply threaded and developed with collective efficacy and social altruism. 

The vision of a 22nd century neighborhood may vary differently by visual aesthetic and design of houses or geographic location. However, the basic makeup and fundamental attributes that create long-term great cities, remain the same. It starts with individual action and works it's way through the complex dynamic of the community and neighborhood system. It is evident enough now that each of us are members and important components of a great thriving world community. We must realize the power that is within each of us, that must be used for the collective betterment and efficacy for us all. Our social well-being to continue these thriving times must be directed and planted deeply within the grounds of wholly beneficial altruistic behavior. These are the times! THESE ARE OUR TIMES! 

"With great power, comes great responsibility."

After reading through the chapter, I came to the conclusion that there were some noticeable negative impacts, however there were some positive or constant factors that were not affected because of the aftermath of the 2008 economic crisis. Some enduring positive factors were that of the altruistic community behaviors and the collective efficacy of some of the same communities that thrived from Sampson's past research. The "aftermath" did cause some mortgage related downturn and crime rates increased as well in certain neighborhoods. Although these results may seem to be counter intuitive Sampson provides supporting qualitative and quantitative data on all of the fronts. He also has provided primary research evidence and also empirical data collected from the PHCDN (Project on Human Development in Chicago Neighborhoods).

As a well-versed and extremely intelligent Sociologist, Sampson is much more educated than I to answer his own posed question. After reading his findings and attempting to understand the overall picture he has presented, I will shed light on a few plausible answers to this question. The reasoning presented by Sampson in the neighborhood of Chatham, shows that because of the violence the community banded together to speak out against crime and raise awareness for local non-profit organizations. The higher presence of non-profit organizations throughout the community and the directly related lower areas of crime were very eye-opening correlations that I think might be one of many factors that help piece together this larger question posed by Sampson himself.

Overall, communities stick together because of some core prevalent factors including altruistic character and positive collective efficacy. On top of this though when these parts aren't enough there is another option in which we can turn to be dependent and confident in improving our communities. A district commander from the text said it best, " if we all work together - the police, the community, the elected officials - all of us together... can make a difference."

My research subject and consequent presentation will be to simply prove the viability of having an art center or art education organization within the community. I have compiled some serious concrete and important sources that will make my research paper a 'slam-dunk'. After much pondering and research (plus a Dr.'s enlightening "ah-ha" moment), I have narrowed down to a general research project topic. I will thus be presenting multiple sources for this aimed topic. 

Research Presentation Bibliography 

My first source for my art study is title The Art of Community Transformation by Seana S. Lowe. This article is from the Education and Urban Society publication. The article has much strength and helps to use many notable sources, which I plan to investigate and research further into, to draw the connection of art and community. She focuses mainly on disconnection and the benefit of introducing community art as an effective way to bind together a community. She also tells that a professional artist must be the director of this project and help to be the “catalyst for the artistic process.” This source will help to tie in my thesis that art can indeed bind a community, which in effect will increase the altruism and collective efficacy as a whole in that community. 

Source:
Lowe, Seana. “The Art of Community Transformation.”. Education and Urban Society (2001) vol. 33 no. 4: 457-471. Sage Journals. Web. 27 Oct. 2013.

The second source from which I’ll be using is a scholarly journal in which it is made evident that by artist’s ‘sweat equity’ economic development and retail growth can come as fruition. The journal studies New York’s South Houston neighborhood claim to upscale success in the late 1970’s when ten years prior the neighborhood was struggling and impoverished. The journal goes in depth about the gentrification of neighborhoods and how a neighborhood can benefit as a whole from this type of art scene presence. It will pull in the ties that artists living within an art neighborhood can draw other types of business and create a central hub of altruistic behavior through collective efficacy.

Source:

Shkuda, Aaron. “The Art Market, Arts Funding, and Sweat Equity: The Origins of Gentrified Retail.” Journal of Urban History (2012) vol. 39 no. 4: 601-619. Sage Journals. Web. 27 Oct. 2013. 

The third source is a entitled Turning to Art to Bring in Business in which a New Jersey city is aiming to develop and complete an arts district which will house 100 art spaces. This creation is part of a larger arts implementation of a $120 million dollar art project. It is planned to house housing, public and retail space and the art spaces. This source shows a real-worl, practical implementation of combining arts and business together for viability and long-term growth. 

Lee, Evelyn. "Turning to Art to Bring in Business." NJBIZ 19.44 (2006): 3,3,10. ProQuest. Web. 27 Oct. 2013.

Another source is a dynamite source in which I have only read Part 3 of the three-part series, in which a well renowned art's organization CEO and President presents how The Arts Are Definitely Good For Business. Presented are some interested figures on how CEO's value art skills, how creatives perform better with artistic influences and the value arts play in quality of life.

 Lynch, Robert. "The Arts Are Definitely Good For Business." Public Management (00333611) 95.3 (2013): 16-18. Business Source Premier. Web. 27 Oct. 2013.

 

Community Wellbeing + Collective Efficacy = Elite Presence

Elite -lite |əˈlēt, āˈlēt| noun1 a group of people considered (by others or themselves) to be the best in a particular society or category, esp. because of their power, talent, or wealth- Oxford English Dictionary via Mac
The clout and importance of elite presence in a functionally healthy community is essential to it's long term success. As Sampson's evidence has proved in Chapter Fourteen Leadership and the Higher-Order Structure of Elite Connections, leadership network presence in communities has a direct correlation to the  lower rates of violence and teenage births, and overall the better wellbeing of communities. I personally believe that these findings are groundbreaking and must be incorporated to every community to improve living conditions and it's collective efficacy. 
Sampson's findings in this chapter not only shed light on the the fact that the over all well-being in the community does directly relate to the bettering of the community but also that the migration flows of leadership ties are also related to the migration flows of community. Meaning, the residents of the neighborhood deciding where to move is directly similar to the flow of connections that are made between community elites. This comparable movement is peculiar because the elite behavior of connection is mirrored by the community and it's movement  of residents. This proves important as it would almost be predictable in deciding where a new community could rise up depending on the elite's move or connection to that area. If an elite were to move to an outer division neighborhood and other elites were to improve and increase the connection between each other it would then be logical based on Sampson's findings that in turn that the flow of a new community would suddenly spring up or revitalize that neighborhood. As a business major this is personally striking. The reason being that if an elite's connection was to be tracked, one could practically predict the subsequent movement of community to that connection area. This is even more powerful real-estate and economic wise due to the fact that if an elite with immense clout was moved to a new area, new communities would then flow also brining new business and opportunity for housing and commercial building. 
Indeed Sampson's findings are at large of important social and economic findings, yet they seem to expound on already personal intuition. I've learned that the movers and shakers do carry and almost seem to sprinkle the clout they possess wherever they move. These elites have power and will promote, share, and protect the networks and the areas of their choosing. The results uncovered by Sampson in Chicago's neighborhoods more deeply strengthens and concretes the fact that elite network movement is related to that of community movement. It is imperative therefore, that in order to protect and increase longevity, well-being, and growth within a community there must be an elite presence and network. In turn, that presence will become a leadership power to positively impact the collective efficacy of the community as a whole. 


Research Paper UpdateMy research for my paper is coming along well. I have been pondering direction of my thesis and the results I'd like to achieve. Largely, I do want to investigate the viability of the presence of art in a community but I'd also like to pursue the possibility of doing a tangible social test within the community as well. There may the possibility to tie these two distinctions together, however I feel to produce explicit and worthwhile results I should delve into one venture fully. The first potential subject would be to simply prove the viability of having an art center or art education organization within the community. I have supporting evidence for both of these topics and would be able to research these findings rather hassle-free.  The second option would be a bigger beast, as I would be producing tangible and physical results within a community. The idea I have is to strategically place pieces of art throughout the community and to watch social interactions associated with the piece. One influencing research article in which sparked my interest in this was a BYU student that designed a billboard with poetic and artistic appeal. The billboard previously had been seen as trash and the improvement and art transformation peaked the communities interest. Then they advertised a follow up to that billboard that there would be art involvement based off that billboard. Classes were open to the public and events were hosted per that theme on the billboard. This after-effect increased community of awareness of the art and also brought together community residents overall increasing the collective efficacy as a whole.I will be dedicating more time this week to further investigation and thought as to which pursuit would fruit more impacted results. Deep down I know which route I want to pursue, I just need to convince my overall being that I should pursue it. Any feedback would be much appreciated as to which topic would be more interesting to read about and become involved in.