Understanding the Place Through Indigenous Knowledge- An Essay

Final Paper- Creative Placemaking

Understanding the Place Through Indigenous Knowledge

HDA 598: Prin. of Creative Placemaking

Kyndra Trevino-Scott

The term and the development of placemaking, includes the involvement of government, profit and nonprofit organizations. The development and the importance of the topic is a direct result of the 2008 economic crisis which took place here in the United States. Issues of placemaking are difficult to grasp at times, its variances, its approaches and the resulting consequences. The term, “creative placemaking,” is intended to reflect the “keeping of the space” rather than the “making”. Nevertheless, it was a term established to reinforce the needs of communities and the people who live in them. In this essay, I will examine three different approaches to creative placemaking within different regions in the United States, their attributes, goals, and opportunity for further development with a focus on the understanding of place through traditional indigenous knowledge and non-indigenous knowledge.

`Ola Ka Ima, Oahu Hawai`i

In Hawai`i it is extremely difficult to combat the increasing costs of living. The acts of decolonization have been detrimental to the Hawaiian people and their culture. Many people have been discouraged from continuing the practice of the traditional Hawaiian art forms. The modern-day practice of these forms is not financially supportive of the exploitation of the Hawaiian culture and materials. Based in the sector of the Kaka`ako district of Oahu, Hawai`i, the Pa’i Foundation set to bridge the gap for local artists and practitioners to continue the practice of local traditions while simultaneously developing a strategy for affordable housing.

Pa’i has been a staple on the Hawaiian Islands for over thirty-five years. The program worked alongside the Bishop Museum, the University of Hawai’i and the Minnesota based organization, Artspace to develop strategies for the developments of arts related affordable housing. The companies worked together to develop the anticipated impacts such as the, “different classes and workshops for hula kahiko (ancient Hawaiian dance), hula ‘auana (modern Hawaiian dance), leo ki‘ek‘e (falsetto singing), ki ho‘alu (slack key guitar), ukelele workshops, and Hawaiian language instruction.” Pa‘i and Artspace partnered with vendors and developed over seventy different cultural heritage events. In order to target the desired community, these were communicated through the use of telephones and printed material. The research done by the partners saw evidence that the use of technology would not attract artists.

In response to the affordable housing goal, the Urban Works Architects and Weinstein AIU along with general contractor, Ralph S. Inouye to develop a scheme which would include the development plan of, “eighty affordable housing units, a 4,000 square foot cultural center, and 2,400 square feet of commercial space. The Pa`i Arts & Culture Center, located on the ground floor, will include 2 performing arts/dance studios, gallery space, visual arts studio, and artist workstations. To accommodate this, Artspace succeeded in leasing a 30,000 square foot site in Honolulu.” Nevertheless, there is fear with the irony of developing an artistic-based place with the aim of affordability. Many times, artists are moved out because the area becomes too expensive with the increased costs of living. This is also nothing new to the Hawaiian Islands and the people who live there.

The issue for such kinds of work is to avoid gentrification, exploitation of Hawaiian culture and the support of artists for years. The location of the lofts begin between an industrial and transitional neighborhood to the high tourist area of Waikiki reaches a wide range of people. However, the artists do seem to be the driving factor in this but it is worrisome for the exploitation of the cultural traditions with its close proximity to Waikiki. With the rates on Oahu and the rest of the islands increasing, there is an inevitable takeover of the southern region of the island by tourists and those with money. The module which is in place currently does not appear to be sustainable nor equitable and the people who live in the lofts are still occupying less than thirty percent of the project’s square footage. The rest is in the form of commercial space, community space and parking.

Furthermore, there is a lack of addressing exact people to support except for the terms of ‘Hawaiian artists. The forum depicts both older and younger people, keiki (children) however there is a lack of presenting the events, of promoting the space and the people’s work, etc. The foundation claims it receives support from the local government, the fails to address from which branch or sector.

Hawai`i is not the only location where an influx of people has brought about issues of place and how the infrastructure is no longer sufficient to the people living there or is lacking some form of service and availability. El Paso, Texas has seen a large influx of people within the past twenty years. Located in the south of Texas, just north of the Mexican border, the town is receiving more and more stakeholders in recent years than in the past. There is a distinct separation between the downtown areas of El Paso and the Union Plaza District. This separation made it difficult for the transition of cultural scenes, nightlife and other activities.

El Paso, Texas

El Paso may be best known as the international traveling stop between Ciudad Juarez, Mexico and the United States/ Texas. It is common for people to travel between the two regions which encourage the travel of students, artists, workers and travelers. However, in the downtown of El Paso, there was a small parking lot which would segregate the Union Plaza District from the Downtown Arts District. With this blockage, there would be a discouragement of pedestrian connection and access between regions.

The city saw the disconnect as a fixable problem by turning the twenty-minute walk into a four-minute commute. In partnership with the City of El Paso Museums and Cultural Affairs department, there could be a path which would encourage cultural activities, allow downtown to become more pedestrian friendly, and heighten the economic development of both regions. Not only was the City of El Paso Museums and Cultural Affairs Department involved, but so were also the City of El Paso Planning and Economic Development Department for the fundraising, the El Paso Downtown Management District, the El Paso Convention and Visitors Bureau and the urban planning form, Dover, Kohl and Associates.

According to arts.gov, “Working with the firm, MCAD held several charrettes and open design studios, which drew record crowds for municipal meetings. Because of MCAD’s belief that the arts were key to activating the new pedestrian space, a charrette for local artists was also included. To engage with the site’s younger demographic, MCAD partnered with Union Plaza’s Creative Kids, Inc. to develop a planning charrette targeted to kids. Youth involved in Creative Kids programming spent time discussing what makes good public spaces work and strategizing how public art and design can create a sense of place.”

The research done by the planners and architects unveiled the surprising historical fact. There had once been a connecting pathway which was disrupted by the construction of the Convention Center. No longer were the two regions separated but reconnected with both the new pathway as well as the historical landmark and connection. However, what is lacking is the methods used to develop the conceptual plan of how the connection should be developed. The understanding on why the group decided to use children in the Creative Kids program is not mentioned. There should, in my opinion be an underlying reason why one group of children were chosen or why children were chosen at all. There should be a connection between the kids and the actual art piece, not as simply an inspiration for the connection. The execution is clear and effective, but the planning and the development behind the execution is lacking. Additionally, there is a lack of statistical forum of how the development improved the community outside of the use of hopeful economic development. Nevertheless, the connection seemed appropriate for the community although did not establish a solution to integrated social issues which targets the city.

Both El Paso and Hawai`i responded to industrialization or the impact of a growing economy, city or region. In the Pacific Northwest in Olympia, Washington the ‘People of the Water,’ the Squaxin Island Tribe attempted to retain their cultural identity through practice and art.

Olympia, Washington

The scenario for the native peoples of the Northwest and across the United States is nearly identical to the scenario which takes place on the Hawaiian Islands. As a result of settlements by non-native populations, the people who inhabited the land were susceptible to loss of land, culture, language, practice, economic hardship. Theses are all a direct result of relocation and federal policies placed by the United States government. The remaining people are in dire need of help continuing their ancestral traditions as well as educating non-native peoples who live or come to visit. Thus, the artists must serve people outside of the Squaxin Islands but target people across a wider market.

During the infamous canoe journey which contained over two hundred canoes each year from various tribes, the Squaxin Island Tribe used the 20213 Canoe Journey Festival to project their tribal identity. Working alongside the Longhouse Education and cultural Center of the Evergreen State College in Washington, and the Squaxin Museum there was a focus and a mission to educate and interact with visitors and residencies through a series of workshops with attention to dance, song and gift-giving.

The result of the collaboration was astounding. Over ten thousand people attended the workshops, people from over eleven tribes participated and the range of age was astounding. It was said in the article from arts.gov,

“As Tina M. Kuckkahn-Miller, Director of the Longhouse Education & Cultural Center reports, ‘We were amazed to see how many Squaxin Island tribal members filled the arena with dancers, drummers, and singers during the protocol ceremonies. The Tribe expressed their cultural identity in so many beautiful ways—in the regalia they made, the art that was gifted to thousands of participants, and the many community members of all ages that filled the ceremonial protocol stage. People are still talking about how well they represented themselves as hosts of the 2012 Tribal Canoe Journey.’”

The impact went beyond that of the 2012 Tribal Canoe Journey. The museum which was a partner in the event increased its attendance by over sixteen percent from the previous year. This proved to be a “record high.” Furthermore, the government of Washington, Olympia and other sponsors would like to implement a trail which would contain a variety of indigenous artwork for the general public.

The use of art in the state of Washington was well articulated in this context. By defining the art to be limited to the indigenous peoples of the Northwest Region with particular attention to the people of the Squaxin Tribe, the artwork was able to be limited to the traditional knowledge of the crafts from the historic knowledge. In regards to the planning and the development of the event, the attention to detail was very well thought out. The government was fortunate in the smaller council so there were a clear limit of availability of traditional knowledge and partnerships. Thus, the series of workshops hosted by the museum over an eight-month period proved the interaction of the community, the drive and assistance of not only the native people but with all people of the community. It is in this way were the greater population of Washington is able to hands on interact with the mission and generate a greater sponsorship for the goal of knowledge.

It should not be dismissed the incorporation of the younger population’s involvement as well. As the intent is the transfer of generational knowledge, the younger peoples must be heavily engaged in the topic and be willing to continue the traditions of their ancestors.

What should be noted in all three scenarios is the importance and the loyalties of parties. This is not limited to the Democratic or Conservative parties within the United Stated but the teamwork, to coalition and the mission of the different parties involved. How this relates to placemaking I think relates to the culture and the mindset of the people. The mission of the program must be clear and well-articulated for the general public to understand and respond. Furthermore, the targeted audience must be well established and limited from there, there is opportunity for growth within the field of creative placemaking. As mentioned earlier in the paper, the term, “creative placemaking,” is intended to reflect the “keeping of the space” rather than the “making”. In the case of both Hawai`i and Washington there was a clear “keeping of place” through indigenous design and interactions. In the case of El Paso, there was a lack of native and historical context. Thus, the acceptance of it being a creative placemaking act is more difficult to grasp. There was a lack of specific community interaction, a lack of targeted audience and a lack of specific inspiration. In this way, the events which took place in the West had a clearer identification with creative placemaking.

Works Cited

“National Endowment for the Arts.” Canoe Journey | Exploring Our Town, www.arts.gov/exploring-our-town/canoe-journey.

“National Endowment for the Arts.” Downtown Pathways | Exploring Our Town, www.arts.gov/exploring-our-town/downtown-pathways.

“National Endowment for the Arts.” Ola Ka 'Ilima: Creative Culture and Art Spaces | Exploring Our Town, www.arts.gov/exploring-our-town/ola-ka-ilima-creative-culture-and-art-spaces.

“Ola Ka 'Ilima Artspace Lofts.” Artspace, www.artspace.org/hawaii.

Shupbach, Jason. “Creating Placemaking.” APH 515. APH 515, 13 Nov. 2019, Tempe, DSN Bridge.

The Editors of Encyclopaedia Britannica. “Works Progress Administration.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 16 Oct. 2019, www.britannica.com/topic/Works-Progress-Administration.