Before the real city could be seen it had to be imagined, the way rumours and tall tales were a kind of charting – Michael Ondaatje, In the Skin of the Lion
How do we imagine this city?
What are the rumours and tall tales charting…?
Tale One: The Soho Effect
Artists bring vibrancy, cohesion and activity into our neighborhoods – Yorkville (1960s); West Queen West (1990s); Regent Park (2000s). Real estate prices go up. Artists – often renters – get priced out, along with other low-income residents. Artists drive the yuppification of our communities, inspiring demonic growth and displacement, the hapless victims of their own success. We are more shallow, disconnected, and cold for the loss.
Here’s where the wrecking crew tore out the heart of the ward
No street signs remind you that a neighborhood died here before
But things are working out well
Don’t believe what you see on the streets
No threadbare armies of men broken and dead on their feet
No more bending your back to the weight of the world
No more sorrows, no setbacks, and no more diving for pearls in the ditches and drains
All our history’s remade and no memory remains of us now
- “History Remade” by The FemBots (2005)
Tale Two: Artistic Antidote
Artists are the antidotes to the homogenization of place. We have the knowledge and practice to leverage the power of the arts to both help artists and inclusively build the city. We can leverage ‘growth’ – the dynamism of a growing city – to counteract the displacement of artists and low-income Torontonians. We can not only creatively ‘make place,’ we can creatively keep what artists and neighbours have already made, through a combination of tenacity, collaboration and strange bedfellows, charting a real city imagined over time through deep connection and relationships.
Talking about a new way
Talking about changes and names
Talking about building the land of our dreams
His tightrope’s gotta learn how to bend
We’re makin’ new plans
We’re gonna start it again
(Rise up rise up) Oh rise and show your power
Time for you and me
- “Rise Up” by The Parachute Club (1983)
The first tale is a story that happens to us. The power to shape the city lies with amorphous forces of real estate, gentrification, homogeneity and private profit. The city grows itself mysteriously around us, burying the sincerity of neighourhoods with ever-rising towers of glass and concrete, enriched by the cultural roots that others – now displaced – nurtured.
The second is a story that we co-author, where the tools of the arts empower us to be savvy, thoughtful brokers of the value that rich artistic communities create; we know, appreciate and foresee the value of deep, cohesive place-based culture and leverage it to creatively, deliberately and inclusively ‘keep place’ as the dynamism of city-building introduces new energy, offers, interests and investments into neighborhoods.
Both tales are true. Because these stories not only reflect what is happening, they actively generate and construct reality by shaping what we believe to be true and therefore, how we act in response.
Through the experiences of Artscape, a broker in the manner of the second tale, we learn about practical, actionable approaches and prototypes to inch away from lamenting the Soho Effect to embracing and reclaiming the artistic antidote.
While there is nothing simple about the Artscape model, in its simplest form it honours artists’ natural tendencies – to cluster, to collaborate, to invest locally and in each other, and to engage as changemakers – as a critical city-building asset and community development force.
It stands to reason that when a critical mass of people come together in a neighbourhood, everyone is drawn to this, creating a strong, powerful push for residential development – Tim Jones (in presentation)
This powerful push for residential development that follows where artists thrive is the carrot for development deals to accommodate artists, make space for low-income residents and accommodate urban growth at the same time.
In other words, it is an opportunity to innovate urban growth that Artscape first began playing with in the 1990s. Their innovation: work with the city, community members, and developers together to manifest prototypes of creative place-keeping into public-private development deals. How? By taking advantage of a little extra density, inclusive zoning and a new tale about the imperative role of cultural value-creators –artists – to ensure they and other low-income community members remain in community.
You can build all kinds of social capital and social infrastructure, because in part together we are creating a multibillion-dollar market for residential development – Tim Jones (in presentation)
If we understand how culture creates value for urban development (and if we know that the value is predictable, as it has been throughout Toronto), we can shift from advocating for creative place-making as an endangered need to deliberately and effectively appreciating culture as a critical lever for creative place-keeping – a fundamental case for more community and artistic ownership in public-private development deals.
Tim calls this engaging in culture as a form of “urban acupuncture” – engaging in small- scale, neighbourhood-level innovation to have a city-wide (city-building) impact.
There can be healing in cities by stimulating ‘nerves’ (creative, original expression) and ‘releasing pressure’ (through unusual partnership or collaboration) to create transformation…charting a new reality where self-interest compels policymakers, developers, community activists and artists to put culture at the heart of city building.
Let the beat of the drums harmonize with the beat of your soul
And let it travel miles.
Even if you are spiritually drained as you dance, as you dance, just smile.
Smile until you forget sadness and laugh at anger.
Until you can look into the eyes of anyone as a future brother
And not a stranger.
To invest in relationships you don’t need to be a banker.
- “Spectrum of Hope” by Mustafa Ahmed
Art – music, poetry, installations, painting, craft, writing – is “the quickest and easiest way to get back to something that makes you feel tied to where you are, and who’s around you, and who came before you, what they were doing” (Philip Churchill, The Once). It is how we imagine the city, how we engage in it, understand it and connect to a through-line of histories woven into this place.
Converge the realities.
Ice, wind, pain
Love, sun and rain.
Converge the realities.
Past, present and future.
- “Converge the Realities” by Charmie Deller