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workshops s^&k Community Cultural Development Workshop by Brenda Berck Ifirstheard of the Community Cultural Development Unit (C.C.D.U.) of the Australia Council and the work it does with local (municipal) councils and community groups to help them "use the arts to build better communities" about five years ago. Since then, I have followed their work with keen interest, discovering their publications and videos, and those articles about them that reach the Pacific Northwest. What has interested me most is the way they assist others in articulating creatively the unique character of their municipality. These actions generate a sense of belonging which lead to greater community development; they are a vivid illustration of the ways in which the arts and culture can play a key role in the economic, physical and social development of the whole community. So, when I learned that the Vancouver Board of Parks and Recreation was sponsoring a workshop with Maria Guppy, a consultant with the C.C.D.U., and Suzanne Lacy, an American artist whose large performance pieces have a similar impact on community development, I was thrilled. Happily, a variety of staff from West Van Parks. North Van Recreation, and the North Shore Arts Commission were able to attend this workshop, as well as North Van Community Arts Council board members and the North Shore Arts Commission Chair, Phyllis Mailing. A few of them have provided initial comments which follow this article. The entire workshop design, including the community-based workshop steering presenters' and organizers* commitment to working with local communities. During the first evening, equal time was given to presentations from Maria Guppy and Suzanne Lacy and torepresentativesof local groups working in the community: Kevin Pike on behalf of the District of West Vancouver and the B.C. Recreation and Parks Association (B.C.R.P.A.); Paula Jardine, Public Dreams; Pilar Riano, MOSAIC; Diane Kadota, Powell Street Festival; and Louise LeClair, Mayworks. The following day consisted of an entire moming of listening, and responding, to presentations from Maria and Suzanne, and an afternoon of exercises in applying their wisdom to more local situations. The C.C.D.U. techniques of working with local residents to 'map' the community were most helpful. Both Maria and Suzanne were open about the pros and cons of working with groups. Suzanne's comments about how difficult it can be for an artist to change course as a result of community input were ones wc could all relate to. As they both said, working with community groups and working in teams is not for Just prior to the workshop, at a meeting of the Cultural Action Committee of the B.C.R.P.A.. I listened to David Garfinklc describe his work as Artist-in-Residence/ Community Arts Development Worker at the Mt. Pleasant Community Centre. I realized that, in his work, and other similar initiatives, there is a strong local basis for moving forward with the new skills and ideas gained at the Community Cultural Development Workshop. Selected Participant Comments Lynda Lyons, Acting Supervisor of Cultural Services, District of West Vancouver: I learnt that both artists and community planners can work together to create a sense of community. The many examples given by die speakers underscored the fact that artists can help people interpret and articulate a sense of place in their community. They also showed how artists can facilitate personal expression around difficult life issues (i.e., abuse, stereotyping, ageism, etc.) The artist then becomes more of a symphony conductor than a solo musician. The joy is in the process, the relationships with the community, and finally, the outcome, be it a performance, a building or an urban plan. One local artist working in this field belongs to an organization called Public Dreams. To me, public dreams are what the workshop was all about. Charles Boname, Delbrook Recreation Programmer: Maria Guppy's work explained the positive products of direct a recreation centre. No longer should buildings and entire communities be designed and developed in isolation of the people they serve. Moreover, valuable resources and perspectives found within the community can and should be utilized. In her project, the young, old. aboriginals and artists alike all contributed to the design and layout of the facility. The result of this community investment was a centre in which all felt at home; this is turn led to cross-generational and cross-cultural understanding, with the arts being the common denominator. For Canada, a nation so richly endowed with talented artists and a growing cultural diversity, this successful model can most definitely be applied. However, in the context of diminishing government funds and a lingering economic recession, one questions the likelihood of such projects ever firmly taking root. Both speakers were somewhat vague on the issue of arts funding. I would have liked to have seen some of the real power-brokers in attendance (such as Darlene Marzari, or a G.V.R.D. mayor) so that they could have witnessed first-hand die positive steps being taken in the U.S. and Australia and offered their own perspective on funding realities. Phyllis Mailing, Chair, North Shore Arts Commission: My thoughts turned immediately to the current issues and needs of the arts community on the North Shore. The inclusive process used in Australia holds a lot of potential. The North Shore municipalities might want to experiment with this model (whereby artists work hand in hand with members of the community to assist them in defining and articulating (heir needs and issues, and in so doing become part of the community process). Those anisLs who enjoy working in this way would then be partners in promoting i healthy climate where the community u a whole would grow and flourish. Editor's note: Quarterly Commentary,'a publication of the Assembly of B.C. Arts Councils, will be publishing an in-depth interview with Maria Guppy in their fall issue. Look for it in September, or telephone 738-0749. I left the workshop inspired, and with several new ideas to use in future work. I also came away with arenewedrespect for what is possible when artistic creativity combines with the organizational abilities of therecreationfield. 10 A m A u f » Juij/Au|u« 1993