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RUNNING HEAD: THE ARTISTS COLLECTIVE

The Artists Collective: A Case Study


Caitlin Leffingwell
Eastern University

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Abstract

In order to better understand the pragmatic role that arts-based community development (ABCD)
can play in urban social transformation (UST), this qualitative case study used interviews,
observations, and online research to paint an in-depth picture of the Artists Collectivea unique
cultural institution serving the Greater Hartford Area through high quality arts training and an
intentional emphasis on the African Diaspora. After a brief description of the Collectives
longstanding history and methods, this research analyzed how effectively it has brought about
UST through indicators provided by three key assessment tools. Resulting data revealed that
some of the key principles successfully utilized by the Collective include fostering a family-like
environment, emphasizing artistic excellence, and striving for cultural relevance. Moreover, data
suggested that some of the challenges inherent to this kind of work stem from a need to balance
breadth and depth for both partnerships and programminga challenge that seemed significantly
less disadvantageous to more seasoned organizations like this. Analyzing an exemplary
organization in this way offered invaluable insights into the multifaceted and complex field of
ABCD and its practical contributions to UST.

Key Words: urban social transformation, arts-based community development, redemptive


transformation, the Artists Collective

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Introduction

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Originally Yankee farmland known for various equestrian trades, the three North End
neighborhoods of Hartford, Connecticut (Clay Arsenal, Upper Albany, and Northeast) became
industrial and commercial areas during the early twentieth centuryoccupied predominantly by
well-off Irish and Jewish residents. Yet the entire middle class population fled after World War II,
when major commercial bases suffered from not only the isolating construction of Route 84 but
also a destructive riot following the assassination of Martin Luther King Jr.. Today, this area is
one of the poorest neighborhoods in Hartfordknown by insiders and outsiders alike for its high
crime rates, poor schools, chronic health issues, and generational poverty. With per capita income
averaging $12,099 in this zone (Carlesso & Torre, 2015), the average poverty rate is about 40%
and the average poverty rate for children is just under 50%rates that have dropped only
slightly in the last few decades (Community Data, n.d.). Over the years, such deterioration has
garnered the attention of both well-meaning and predatory efforts, such that numerous attempts
to revitalize the area have come and gone because of disheartenment, corruption, ineffectiveness,
and the like. Yet this area is far more than just a bleak landscape. Cultural pride runs deep among
the people here and takes the form of community murals, small arts centers, vibrant churches,
bakeries filled with West Indian and Hispanic delicacies, and much more. In fact, difficult times
and fading aid only serves to highlight the fact that one such cultural light has grown only
stronger in the past fifty yearsdigging its roots deeper and spreading its hope even further as
time goes on. This organization is called the Artists Collective, and it exemplifies arts-based
community development at its finest by capitalizing on quality arts training, emphasizing cultural
relevance, and using the love of family to help bring about the urban social transformation so
needed in the North End of Hartford.
Methodology

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Our understanding of the role that the arts play in urban social transformation (UST) has
rightfully been developed through a myriad of research methods, with both qualitative and
quantitative methods alike playing an important part in such research. Yet arts-based community
development (ABCD) in particular is still an incredibly young and fast-evolving field that defies
many of our more conventional research methods. As Cleveland (2011) described, What started
out as a very small and contained universe of intent and definition has become much larger and
amorphous (p.4)a change that both demands and challenges a unified way of conceptualizing
the vast array of arts-based development efforts employed with ever-increasing diversity
throughout our world. Such a multifaceted field requires a multifaceted research approach, and
studying the creative elements of social transformation requires more than just an analytical
overview of such work. Because arts-based programs aimed at urban social transformation are
unique by nature and usually take place in an unpredictable environment, a key tool for
analyzing such work is the case study. Very few things follow a less rational, predictable, and
measurable path than collective efforts to improve peoples lives, but approaching these efforts
through a thorough case study honors the nuances, creativity, newness, uniqueness, and
exhilarating challenge all wrapped up into this field (Balbach, 1999, p.5). The qualitative nature
of this approach also provides a thick description through in-depth interpretation rather than
mere transcription of details (Savin-Baden & Major, 2013, p.15).
As with all approaches, using a case study has its limitations and cannot fully encapsulate
all there is to learn about arts-based community development without the help of other methods.
The approach itself is difficult and time-intensive, in addition to offering less breadth and
generalizability than more traditional research approaches (Balbach, 1999; Savin-Baden &
Major, 2013). As such, this field can certainly benefit from analysis using a variety of

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approaches. Yet we seek to contribute unique insights to these other approaches through a case
study in order to allow deep analysis of a particular unit that very much embodies the heart of
arts-based community development and its role in urban social transformation.
Because of its accessibility, distinctiveness, and relevance to the topic of ABCD, the
subject of this case study is the internationally renowned Artists Collective located in the North
End of Hartford, Connecticut. It calls itself an interdisciplinary arts and cultural institution
serving the Greater Hartford area, and its main purpose is to introduce students to the arts and
culture especially as they relate to the African Diaspora (Artists Collective, n.d.). Although
supplemented with some online investigation, the core of this case study involved the primary
investigator, Caitlin Leffingwell, performing two intensive site visits. The first involved a twohour semi-structured interview and tour this summer with co-founder and Program Director,
Cheryl Smith, while the second involved attending the annual Open House at the Artists
Collective (OHAAC) in November. The former provided understanding of the more internal
workings involved with how the organization functions and how it started, while the latter
provided insight into the more external workings regarding fundraising and community
involvement. Moreover, the initial interview actually led to employment as a violin instructor,
which has meant weekly interactions with staff, students, and families since September as well.
Although an avid admirer of the Collective since I first started teaching violin at a school
just down the street, my appreciation of their work has grown with each new interaction.
Interviewing Cheryl revealed a kindred spirit between me and the others there, as I recognized
with more and more clarity how deeply invested they are in developing the community through
the artsa field that I find myself increasingly invested in as well. This shared enthusiasm and
investmentresulting even in a growing partnershipmeans that my official position to this

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research is as an inside observer who, although relatively new to the organization, has a vested
interest in its effectiveness and growth. I have attempted to recognize this rosy bias in my
observations and interactions, as well as in my interpretation of the data, by attempting to prove
[myself] wrong by finding evidence that disconfirms a pet theory of any kind (Balbach, 1999,
p.12). I have also tried to capitalize on the benefits of this insider approach by including behind
the scenes information and insights from informal conversations with students, families, and
coworkersall with discretion and permission when applicable. Because of this continuing
partnership, the connection between myself and this organization is also now indefinite;
however, the official data collection period for this case studyincluding interview, open house,
and weekly lessonsspanned from late August to mid-November.
Program Description
History and development: As with a surprising number of great things, this organization
started out in a living room. Officially founded in 1970, the Artists Collective evolved from a
dream by a group of talented visionaries who saw both the drastic need for cultural education and
the community strength that accompanies it. This group included world renowned alto
saxophonist, composer, educator, and community activist Jackie McLean [and] his wife, actress,
dancer, administrator Dollie McLean, as well as co-founders and Hartford artists, bassist, Paul
Brown, visual artist, Ionis Martin, and dancer Cheryl Smith, now Associate Director (Upper
Albany Main Street, 2010). In response to the violence, teen pregnancies, and chronic health
problems that wereand in many ways remainso prevalent in the North End, these artists
decided to offer the youth there an alternative through professional music training that focused
specifically on the African Diaspora.

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Since those initial home-based classes, the organization has grown significantly. After
progressing through larger and larger buildings, the Collective expanded to the point of needing
the next step: its own building. To pass this milestone, a large fundraising campaign recently
culminated in the construction of a beautiful facility in the heart of the North Endright on the
corner of Woodland Street and Albany Avenue in the Upper Albany neighborhood. This building
has been a significant part of the efforts toward economic development in this area, as well as
social and cultural development as well (Artists Collective, n.d.). The expanded resource
currently allows the organization to serve about 1200 students through year-round classes in a
wide variety of arts classes, and even the ups and downs of a shifting economy have led to more
growth than loss over the years. According to the limited information available on GuideStar
(2015), the nonprofit even finished the 2013-14 fiscal year with a revenue of $1,695,413 and
expenses totaling $1,267,136. Community support and various awards have sustained the
organization for almost fifty years now, and the leaders have already started planning for an epic
event to celebrate half a century of arts-based community development. As co-founder Dollie
McLean stated during the open house, When my husband and I started this work, we didnt
know if it would last five years. Now, I firmly believe that we will make it to 50 years and
beyond.
Mission and purpose: According to the Artists Collective website (n.d.), the vision of
this organization is the following:
to preserve and perpetuate the arts and culture of the African Diaspora by providing
training in the performing and visual arts and by sponsoring special events. It is also the
mission of the Collective to develop professional artists, to foster positive feelings of self-

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identity among peoples of the African Diaspora, and to raise public consciousness about
the value of this culture.
As Cheryl noted repeatedly during our interview, much of this vision stemmed from observing
social issues facing the Hartford area and a subsequent desire to create a safe haven for at-risk
youth to offer alternatives to the violence of the streets, teen-age pregnancy, gangs, drugs and
alcohol abuse (Artists Collective, n.d.). This vision involved goals such as decreasing the rates
of these social problems, offering the highest quality artistic training possible, and faithfully
increasing community knowledge of the African Diaspora legacy. As discussed in much greater
detail below, the Artists Collective certainly achieves many of these goals, such that the
outcomes mentioned in conversations and noted through observations generally appear to align
with these intentions. Beyond the questions of who exactly is benefiting most from the
Collectives current programming and whether it is being as effective as possible, the
organization has certainly created a safe haven, played a large role in improving social
conditions, trained countless skilled professionals, and expanded cultural community knowledge.
Programs and activities: In order to pursue its mission, the Artists Collective offers an
incredibly wide variety of classes to students of all ages and backgrounds six days a week and all
year long. These classes include private lessons in saxophone, flute, clarinet, trumpet,
trombone, acoustic and electronic guitar and bass, piano, violin, drums, and voice, in addition to
group classes that range from dance ensembles to martial arts training to the renowned Jackie
McLean Jazz Orchestra (Artists Collective, n.d.). Many of these cultural programs are also
offered within local schools and even through student exchange programs in different states, and
one of their specialties is the Rites of Passage Yaboo Ceremony offered since 1976a class
offered in various locations that helps bond families together and concludes with a ceremony

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bequeathing the key of life to members of the upcoming generation. Moreover, the Collective
utilizes specific arts-based strategies to target the trio of ills currently plaguing this area (teen
pregnancy, violence, and health issues), which include a Summer Youth Employment Training
Program, a dance program for children with Sickle Cell Anemia, cultural dance classes for
women at higher risk of breast cancer, and even an overall emphasis on artistic excellence that
keeps kids so intensely busy that they have no time at all for getting in trouble.
Principles and methods: One of the most substantial underlying principles in this
organization is the concept of family, in that the Collective actively seeks to create not only a
safe haven and second home for many of these students, but also an extended family that will
support each other through every aspect of life. Classes and events emphasize the theme of
familial inclusion, in that everyone is accepted and welcomed unconditionally. Cheryl noted that
the youngest and oldest members of the organizational culture are treated with extra respect, and
group classes purposefully mix ages in order to capitalize on the benefits of mixed generations.
This principle plays itself out first in the fact that literally no violence occurs in or near the
building, which is something of a miracle that stems from what Cheryl called an unspoken code
that says to a neighborhood known for violence and crime: leave this place alone. Secondly,
the family principle has led to an incredible retention rate. Students often start here at young ages
and continue all through school and collegeoften returning as teachers or artists-in-residence
themselves. This generational component is powerful, and a key part of what has allowed this
organization to continue for so long. Even the fact that I was welcomed into the family so
quickly is a testimony to how all of the staff live out this value, and their stunning array of
connections also demonstrates just how inclusive and warm this organization has proven itself to
be. Moreover, it is truly more than just a belief, but also a strategy for more effectively

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improving quality of life for everyone involvedespecially in an area where family structure is
deteriorating in many ways.
Program Analysis
Assessment of program: In order to evaluate the links between the program as it was
delivered and its observed impacts, or lack of observed impacts, this case study will analyze
how anecdotes and data gathered during site visits, interviews, online research, and work hours
align with three key assessments tools (Balbach, 1999).
Arts in Redemptive Transformation Model
Developed by Corbitt and Nix-Early (2003), this model (see Appendix A) depicts the
transformation, or the intentional process of bringing about change in the world (p.53), within
a community as it progresses through an old and ineffective state to a new and more fulfilling
statea way of living in which all people are empowered to live lives that are full, free, and
pleasing to the Creator in all aspects (p.22). This upward spiral begins as people first gain
Critical Awareness of a problem, then begin Working Out the issue, and finally honor the results
through public Celebrationall assisted by Urban Prophets (or Prophetic Artists), Agape Artists,
and Celebration Artists in each respective stage (Corbitt and Nix-Early, 2003, pp.62-63). Because
of how many years the Artists Collective has served the Greater Hartford community, the
organization has become involved in nearly every stage of this cycle with virtually every kind of
artist. The classes that focus explicitly on arts regarding the African Diaspora tend to boost
critical awareness of problems in the community, as well as emphasizing the importance of
cultural continuation. As an extension of this focus, even the classes and instructors not directly
related to African arts are drawn in to work out community problems as a team arts-based effort.
Furthermore, absolutely everyone is involved in regular celebrations where students and the

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larger community come together for exuberant festivities that commemorate hard work and
exciting progress. In fact, even the open house was something of a celebration, in which students
from every class were able to give presentations on their progress and help funders and potential
funders see the beautiful results of group effort.
In some sense, this multifaceted approach is a blessing and a curseleaving no
opportunity neglected, but also creating potential for breadth without depth. Especially for a
younger organization, the attempt to utilize every form of artist and play a significant role in
every area of transformation can mean spreading too thin to accomplish meaningful change. Yet
for the Artists Collective, a long legacy of famous musicians, educators, and other successful
graduates alludes to the idea that initial depth may allow scope to increase successfully over
extended amounts of time. Long-term arts-based investment has facilitated transformation in a
variety of formsthrough infrastructure upgrades, economic growth, social improvement, and
cultural strength to say the least. Only time will tell if having its hand in every component of the
Arts in Redemptive Transformation Model is effective for the Collective, and, as only one player
in the pursuit for transformation, identifying the exact correlation between its efforts and
community change is difficult. But data does point to the fact that this organization has made
significant contributions to each aspect of this model, as well as making a lasting positive impact
by calling attention to, serving, and celebrating the positives in an area generally looked down
upon or avoided.
Arts-Based Community Development (ABCD)
A second tool that can be key to understanding the nature and quality of organizations
like the Artists Collective is the ecosystem or map that Cleveland (2011) devised to help the
ABCD field become more unified and effective (see Appendix B). Although not specifically

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focused on urban contexts, it encompasses Arts-centered activity that contributes to the


sustained advancement of human dignity, health, and/or productivity within a communityall
designed to EDUCATE and INFORM us about ourselves and the world, INSPIRE and
MOBILIZE individuals or groups, NURTURE and HEAL people and/or communities, and
BUILD and IMPROVE community capacity and/or infrastructure (Cleveland, 2011, p.4). As
noted above, the Artists Collective does not just focus on one of these principles; instead, it dives
deep into almost all of them as it educates regarding artistic excellence and the once-neglected
artistic contributions of the African Diaspora, inspires individuals to be more than what their
neighborhood offers, nurtures an entire community through artistic skills and life skills, and
improves community capacity through quality training and renewed infrastructure. If anything,
the main focus may be on artistic and cultural education, but perhaps one of the greatest
outcomes is that of drastically improved community capacity. The fact that many students
essentially grow up in the program, leave for successful and meaningful lives, and then even
return to an area that most residents either cannot escape or cannot wait to disown is a clear sign
that this organization does not just stick with categories like arts in education, artist training,
celebrations, and youth arts, but also heavily impacts fields like arts-based business, cultural
districts, arts in social services, cultural policy development, and even some cultural tourism of
sorts (Cleveland, 2011). Interestingly enough, some of the areas that the Artists Collective does
not seem to dabble in include arts-based community organizing and arts in social justicetwo
fields that would seem related to the program itself but are not actively pursued in ways that
current data reveals. Yet as the ABCD model focuses intently on clear artistic focus and the high
quality of the artists involved (p.7) and the belief that [e]ffective community-based work is
about partnership (p. 9), so this unique organization pursues the highest quality artistic training

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through as many partnerships as possibleaiming at the arts and achieving something even
more impactful in the process.
Urban Social Transformation (UST)
The final assessment tool utilized by this case study is one developed by the primary
investigator in order to better understand the role that such arts-based organizations play in urban
social transformation (see Appendix C). This assessment tool uses the following definition for
urban social transformation:
Focusing on areas that are home to dense and high populations, as well as the unique
challenges and assets that accompany this characteristic, UST is the process of
cultivating strong, healthy relationships with each other, ourselves, our environment, and
our Creator in order to offer every citizen equal opportunity to live the most meaningful
life possible.
With this definition in mind, answers to the interview questions found in Appendix Casked
verbally to Cheryl Smith, the Program Director, and two long-time violin studentswere used to
determine how the Artists Collective aligned with following indicators.
Positive social change. Because social transformation requires a transition from old to
new, any organization that is not actively, demonstrably, and continually bettering the lives of its
community members is not involved in social transformation. Maintaining the status quo or any
form of equilibrium may be the goal of some organizations, but these do not fall under the
category of UST. This pursuit of social change aligns with Sens (2009) emphasis on creating
more global justice through eradicating obvious injustices, rather than striving for an
unquantifiable (and therefore unachievable) concept of perfect justice (p.26). As such, one

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indicator of UST is concrete, measurable social change that consistently increases the social
capital, spiritual capital, and opportunities available in its community.
Data collected from interviews, observations, and online research revealed that the Artists
Collective has indeed improved the quality of life for an incredible number of people. Cheryl
practically overflowed with story after story of how the Artists Collective has impacted students
ranging from general tales like how the Rite of Passage (an annual opportunity since 1976)
brings together families, to specific stories about individuals whose lives transformed from
street-life to artistic fame. At the Open House, co-founder Dollie McLean even noted that half a
dozen Artists Collective graduates are currently local doctors, while the majority of current
instructors are graduates who decided to bring their additional professional training back to the
place that launched their artistic careers. Such success is not only impressive, but much needed
in a neighborhood that has the lowest per capita income in Hartford and is also burdened with
the highest rates in the city for obesity, heart disease, infections and infant mortality, and a
concentration of violent crime (Torre, 2015). In response to these rampant health problems, the
Artists Collective has used the arts to successfully change lives through programs like African
Dance (aimed at women in need of culturally relevant activity, due to their higher risks of obesity
and breast cancer), therapy through music (aimed at patients from St. Francis and Harlem
Hospital with sickle cell anemia), and even a dance and self-care class (aimed at young women
at risk of teen pregnancy). Programs like these have proven so successful that other organizations
have adopted similar initiatives, and Cheryl noted that violence and teen pregnancyevents that
are often a sad norm for teens in this areaare simply nonexistent within the Artists Collective
family. In affirmation of this kind of positive change, the announcement of violin classes starting
again was met with such warm excitement that my roster filled up within 48 hoursprimarily

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with students who looked like they were returning home on their first day of classes. This kind of
changealthough seemingly primarily on a personal levelis what extensive long-term change
is made out of, and seeing it at work through the Artists Collective is clear and exciting.
Spiritual capital and social capital. As Zohar and Marshall (2004) elaborated with the
Scale of Motivations found in Appendix D, our communities should be growing in a sense of
meaning and values and a sense of fundamental purpose (spiritual intelligence) in order to build
the wealth that these can generate (spiritual capital) (p.5). Similarly, UST should foster a
healthy balance of bridging and bonding capital so that communities can both preserve and
discover capital (p.27)leading ultimately to greater information flow, dynamic influence,
social credentials, and reinforcement of identity (Lin, 2001, p.20). Community members
displaying increased desire for more purposeful, sustainable pursuits and greater connections
with one another and external communities are both indicators of UST at work.
As Cheryl Smith noted during our interview, the Artists Collective accepts anybody,
such that their students come in all ages, shapes, and cultural backgrounds. Moreover,
conversations with current families revealed that many of the students are not actually from the
North End of Hartford. In fact, only about half are even from Hartford. As such, these mixed
demographics lead in part to an important expansion of social bridging capital as families mix
and mingle around the arts yet return to their surrounding hometowns and extended connections.
This kind of interaction seems to offer the potential for families to expand their connections, and
therefore their wellbeing. In fact, the Artists Collective certainly benefits from having
connections with a wide variety of partnerswith experiences ranging from White House
accolades to exchange student partnerships with arts-based organizations in different states.
However, the impact that this has on either distinct families or the North End community is a bit

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unclear, in that no one that I spoke with or observed mentioned benefits from the diverse
collaborations provided by involvement with this unique organization. Even looking at census
data from this area reveals slightly mixed stories, as Appendix E and Appendix F depict visually
(U.S. Census Bureau, 2015). While the entire city of Hartford, but especially the North End,
actually saw an overall decrease in median income from 1990 to 2013, the census tract
surrounding the Artists Collective stayed the same (U.S. Census Bureau, 2015). Whether this
reveals a connection between Artists Collective activities or not is difficult to determine through
current data, but the idea that this organization is increasing capital for those involvedwhether
from Hartford or notis certainly possible.
Principles of transformation. Especially within the bounded instability of urban
environments, organizations and individuals invested in UST must be able to adapt to constantly
evolving social environments if they are to produce any kind of measurable social change (Zohar
and Marshall, 2004, p.116). As Zohar and Marshall (2004) described,
Any organization or society with the capacity to be creative and sustainable in todays
unstable and crisis-riven world will have the characteristics of what chaos and complexity
theory calls complex adaptive systems. These characteristics include holism, diversity,
spontaneity, self-organization, emergence, and coevolution between the systems and their
environments. (p.12)
UST workers should embody the majority of these characteristics, as well as putting into practice
any applicable principles of transformation that allow SQ [Spiritual Intelligence] to dissolve old
motives and create new ones (Zohar and Marshall, 2004, p.118). Appendix G expounds on these
principles, which are all are indicators of UST.

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While the Artists Collective is both well-run and well-organized, it certainly displays a
high number of the common features of complex adaptive systems and spiritual intelligence
(Zohar and Marshall, 2004, p.118). Even just during the 3-hour open house, I learned of
numerous ways that the organization has adapted to drastic changes around it in ways that are
holistic, exploratory, emergent, and self-organized. The North End has been a volatile
environment since the construction of Route 84 isolated itand its immobile residentsfrom
economically thriving areas of the city in the mid-20th century, and countless attempts to change
this situation have risen and fallen since then. Yet the Artists Collective has not only sunk deeper
roots into the community through a beautiful new building; it has been driven by various
elements of spiritual intelligence (self-awareness, spontaneity, leadership led by vision and value,
and the positive use of adversity to say the least) to bring order out of chaos even as the
community around it crumbled. Harvard Universitys Project Co-Arts found this organization to
be one of six exemplary community art centers in the nation included in the Safe Haven Report
published by Harvard University (The Artists Collective, n.d.). Similarly, their program was one
of fifteen in the country to receive the 2010 National Arts and Humanities Youth Program Award
from Michelle Obama for using engagement in the arts and the humanities to improve academic
achievement, encourage admissions to higher education, and/or advanced training programs,
promote self-discipline, teamwork, and leadership skills; and foster respect/responsibility for self
and others (Upper Albany Main Street Inc., 2010). These achievements affirm the presence of
key principles of transformation as the Artists Collective thrives by adapting to its challenging
environment.
Increasing opportunity and responsibility. Rather than merely seeking to increase
material capital or social status of community members, organizations and individuals pursuing

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UST should have a clear focus on increasing opportunities for all, and particularly for those who
currently have fewer opportunities for living a fulfilling life. Sen (2009) noted that By
proposing a fundamental shift in the focus of attention from the means of living to the actual
opportunities a person has, the capability approach aims at a fairly radical change in the standard
evaluative approaches (p.254). In addition to arguing for this accomplishment-based
understanding of justice (p.18) Sen (2009) also pointed out that Freedom to choose gives us
the opportunity to decide what we should do, but with that opportunity comes the responsibility
for what we do to the extent that they are chosen actions (p.19). As such, UST is indicated by
an organization or individual increasing and enhancing opportunities for community members to
access a fulfilling life, as well as advocating for and training members to embrace the
responsibility that comes with them.
According to Cheryl Smith, various speakers at the Open House, and the organizations
website, of the 1200 students served annually, the Collective serves a predominately low
income black, Caribbean and Latino constituency. For many, it is their only exposure to the arts
(The Artists Collective, n.d.). The fact that these students receive training that develops their
artistic and life skills is a key to opening the door for a more fulfilling lifea life that they may
not otherwise be able to access. Many of my students were thrilled to be able to return to the
Collective, and their families often see it as a road that their children can take to better. As noted
before, however, the number of students who already have greater access to such opportunities is
a bit unclearmeaning that those who are impacted by this program still may not be those most
in need of it. In fact, the subsidized cost of this program still creates a barrier for many students
from the surrounding neighborhoods, which begs the question of whether the Collective is
achieving its purpose within its community as effectively as possible. Similarly, the sheer breadth

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of its program offerings and connections makes one wonder about the quality of each. In other
words, does the organization stretch too far and stretch too thin to truly increase opportunities for
those involved, and especially for those who need it the most? Such questions may only be
answered with more time, more observations, and more interactions. Yet it is clear that those
involvedwhether the leaders or the familiesfeel that the organization has impacted them in a
positive way, and this at least leads us in a positive direction.
Lessons learned: Analyzing this program with these three unique tools leads to two very
clear lessons that actually seem quite simple. The first is to focus on peopleparticularly
through an emphasis on family and community. Over and over again, whether in formal
interviews, informal conversations, or even unintentional observations, this theme emerged with
such gusto that it could not be ignored. Cheryl repeatedly referenced the familial nature of the
Collectivethe impact that it has had on families, the purposeful focus on families, the overall
feel of a family, the generational element, the welcoming nature, the opening collaboration
between partners far and wide, and much more. Although she did not explicitly refer to this
characteristic as a key strength of the organization, the way she referred to it clearly showed how
it underlies every strength of the organization. As noted in the Open House (and confirmed by
numerous students each week), this sense of compassionate inclusion is the foundation upon
which high retention rates, high levels of impact, and high commitment rests.
Similarly, the data seems to suggest that a second lesson involves the need for arts-based
community development organizations to develop programs with a healthy scope in mind. In
other words, such organizations must learn how to balance the desireand often needto do it
all with the desireand often needto do everything well. Quantity does not make up for
quality, and healthy vision requires discernment to determine when to pursue new avenues and

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when to spend resources on existing avenues. The Artists Collective seems to have started off
with a big vision that has lasted throughout the years, while its skillset has expanded from
something very specific to something incredibly multifaceted. To see that an organization that
started in a living room with cultural music classes now serves about 1200 students with a wide
variety of classes and events all around the region is inspirational to say the least, but it is also
important to remember that this growth is almost 50 years in the makinga time frame that
allowed the Collective to expand its work in both breadth and depth.
Best practices: When the United Way published Routes to Excellence: Eight Core
Program Strategies for Youth (2011), it included arts programming as one of these main
strategies and proposed eight key elements of effective practice for such work, including sample
outcomes from such practices as well. Of these strategies, almost all can be found to a significant
degree at the Artists Collective. To start with, the first two include setting high expectations and
emphasizing hard work over raw talentboth of which can be seen in an organizational structure
that emphasizes commitment, consistent practice, and regular attendance while admitting anyone
regardless of age or skill level. Similarly, the Collective also employs another effective practice
by providing students with regular opportunities to showcase their workagain, regardless of
age or skill level. Moreover, both rehearsals and performances heavily emphasize student
leadership, in that the majority of the Rites of Passage and dance programs ultimately are led by
the oldest and youngest students.
This practice relates heavily to a fifth best practice that entails making learning relevant
and personally meaningfula challenging task that the Artists Collective nonetheless has, in
many ways, built its entire model around. By emphasizing the oft-neglected works of the African
Diaspora, this organization offers students from this area a unique outlet for learning about and

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showcasing their unique cultural background. As Landry (2006) found, cultural work liberates
enormous creative energy to the benefit of the entire society. And in many situations, cultural
work is the best road to dialogue between conflicting groups or ethnicitiesand sometimes, even
the only (p.3). This focus on culture is one of the Collectives major strengths and certainly a best
practice that deserves analysis beyond the depth of this paper. Yet, as noted previously, this
strength is also intrinsically tied to an even deeper strength and, according to the United Way
(2011), yet another best practice for arts programming: providing a safe and supportive
environment. The familial nature of the Artists Collective not only encourages creativity and
positive risk-taking, it also shows each young person that he and all those around him deserve to
be treated with respectan important foundation for any kind of transformation to take place
(United Way, 2011, p.5).
Replication: While every form of arts-based community development is inherently
unique (hence the need for case studies), and the Artists Collective is certainly no exception,
there are still several elements of this organization that could prove ripe for replication. The first
of these has been a constant theme throughout this research process: a family-esque focus on
people. As noted previously, this organization warmly welcomes students, families, and even
staff members with open arms and the comfort of a safe havenretaining members not through
gimmicks, pleas, or bribes, but through the honest compassion that all humans deeply need. Any
organization seeking to serve its communityparticularly in struggling communitiesshould
heed this approach and seek to emphasize people and process over product. In many ways, this
requires leadership that is fully committed to serving the community, as well as leaders who
value this kind of relationship-based work.

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A second parameter for replication includes another exemplary feature of the Artists
Collective: cultural focus. As Landry (2006) explained, Culture is who we are: the sum of our
beliefs, attitudes and habits. Our culture shapes how we create and make our societies (p.14).
By focusing on this societal building block, organizations who seek to implement arts-based
community development can have a deeper impact on both individuals and our world at large.
Honoring the culture represented by targeted individuals increases relevance, magnifies positive
change, and ultimately can lead such change to expand into larger spectrums of society.
However, such an approach should be taken only with great care and a respectful understanding
of the cultures to be emphasized. The Collective succeeds at highlighting elements of the African
Diaspora because its staff is ethnically connected to, highly trained in, or completely open to this
culture; to invest deeply in a culture for the sake of using it or morphing it to comply with ones
own views would be both disgraceful and ineffective.
The final three parameters for replication include a focus on artistic excellence, an
extended partnership network, and diversification of approaches. As the Artists Collective
demonstrates, arts-based organizations prove most effective at begetting urban social
transformation when they emphasize producing quality art rather than direct social justice. As
Cleveland (2011) wrote regarding arts-based community development, The most successful
programs have been developed by artists making art, not artists doing something else. These
artists have created art programs, not therapeutic or remedial programs that use art as a vehicle
(p.7). Developing artistic skills inherently develops a plethora of important life skills when done
well, such that organizations such as this can focus primarily on artistic development while
staying actively mindful about the plethora of other benefits that will accompany it. Along these
lines, developing an extensive support network and offering as diverse a selection of arts

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programs as possible is important for providing this kind of impact on the communities involved.
However, navigating the tricky balance between branching out and staying centered is a constant
battle for such organizations, and can prove especially treacherous for those just beginning.
Expanding too early or beyond the capacity of current support systems may weaken the effect of
all programs, which can minimize impact. In light of these challenges, such parameters should
all be considered with the knowledge that every arts-based initiative takes place in a unique
context with unique communities. Ultimately, the impact of organizations like the Artists
Collective is directly related to their ability to navigate a unique and ever-changing environment
honing the traits of spiritual intelligence and complex adaptive systems that will carry them
through hardship.
Summary and Conclusion
Learning about how concepts like arts-based community development and urban social
transformation through books and discussions is an important step in the journey toward a better
world; in fact, without such efforts, even the most well-meaning researchers would likely find
themselves either woefully inactive or even blundering forward into greater disaster. However,
this journey must at some point incorporate some level of active application for any true change
to occur, and the transitional step between these points can in many ways be facilitated with case
studies like this. By diving into the detailed and often messy reality of arts-based community
development in action, we catch glimpses of both theory and practice as they merge in glorious
chaosa tangled reality that conceptual models can help us to understand but not always
implement in real world. The Artists Collective in Hartford, Connecticut is a valuable example of
how the arts can be used in urban social transformation, both from the perspective of theoretical
concepts and of practical application, and analyzing the specifics of its programming through

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interviews, observations, and research provides unique insight into lessons learned, best
practices, and replicability. Its focus on the principles of family and culture help us to understand
some of the ways in which community artists, singly or in teams, place their artistic and
organizing skills at the service of the emancipation and development of an identified
community (Goldbard, 2006, p.140). Similarly, analyzing some of the challenges and potential
downfalls of its approach affirms the need for balanced breadth and depth, cultural relevance,
community sensitivity, diversification of approaches and connections, and an emphasis on
artistic excellence. Overall, the definition of urban social transformation and related assessment
tools used in this case study paint the picture of an organization that has outlived decades of
similar efforts by adapting to its community and thereby contributing hope to an area much in
need of redemption.

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Appendix A
Arts in Redemptive Transformation (A.R.T.) Model
(Corbitt and Nix-Early, 2003 p.63)

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Appendix B
Arts-Based Community Development (A.B.C.D)
(Cleveland, 2011, p.5)

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Appendix C
Urban Social Transformation Assessment Tool

When using this assessment tool to analyze the presence and degree of Urban Social
Transformation within a particular community, the first five questions can be directed to
community workers. However, because the ultimate judgment of success rests with the
participants in cultural community development, the final four questions should be directed at
members of the community (Goldbard, 2006, p.154). For more in depth and measurable data on
social capital, the community can also be assessed according to the Social Capital components
found in Appendix H (Putnam, 2000, p.291).
1. What changes within this communityboth measurable and anecdotalcan be
attributed as a direct effect of your work within the community? Over what span of
time?
2. What are some of the most common motivations that you see in members of this
community? How have you seen motivation change since you began working with
the community? [Lower motivations include fear, greed, anger, and self-assertion,
while higher motivations (a sign of spiritual capital) include exploration, cooperation,
power-within, mastery, and higher service (Zohar and Marshall, 2004, pp.10-11)]
3. On a scale from 1 to 10 (with 10 being incredibly connected), how connected to each
other and to resources are members of this community in general? How connected are
they to members or resources from other communities? What role does your work
play in both of these connections?
4. How many of the principles or characteristics of transformation (see Appendix G)
would you say describe your work and its impact on the community?

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5. What doors have you seen opened for members of this community as a result of your
work here? How have you encouraged and equipped people to take such
opportunities?
6. How has this organization/individual/work impacted your life, or the lives of others in
your community?
7. What do you find yourself motivated by when making decisions in life? What has
previously motivated you?
8. On a scale from 1 to 10 (with 10 being incredibly connected), how connected do you
feel to members or resources of this community in general? How connected to
members or resources from other communities? How has this organization impacted
your relationships with others? Your access to resources?
9. Do you feel that this organization has affected your quality of life? If so, in what
ways?

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Appendix D
Scale of Motivations
(Zohar and Marshall, 2004, p.59)

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Appendix E
North End of Hartford: Median Income
(U.S. Census Bureau)
1990

2013

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Appendix F
Greater Hartford Area: Median Income
(U.S. Census Bureau)
1990

2013

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Appendix G
Principles of Transformation
(Zohar and Marshall, 2004, p.118)

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Appendix H
Social Capital components
(Putnam, 2000, p.291)

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