Blog of American Cultural Ambassadors David and Renate Jakupca of the International Center for Environmental Arts (ICEA) located at the Historic ARK in Berea.
Today, an eloquent voice has been silenced, a beautiful mind stilled, and a bountiful heart stopped. The epic soul of Nelson Mandela is now resting.
It is routine to suggest that the legacy of a man or woman will outlive that person, but in this case, the world will never be the same now that Nelson Mandela has occupied it. The example of his leadership – from prison to the presidency – from a land riven by fear to a people reconciled through truth and justice – will stand for all time.
Fifteen years ago, in an address to the United Nations, Mandela wrote his own epitaph: “As I sit in Qunu and grow as ancient as its hills, I will entertain the hope that there has emerged a cadre of leaders in my own country and region, on my continent and in the world, that will not allow any to be denied freedom as we were; that will not allow any to be turned into refugees as we were; that will not allow any to be condemned to go hungry as we were; and that will not allow any to be stripped of their dignity as we were.”
Nelson Mandela Peace Medal and Award presented in 2001 to Ione Biggs and Renate Jakupca,
Co-Directors of the 'US
Network for the United Nations World Conference Against Racism'
I remember Nelson Mandela was a man of profound dignity.
I had the
opportunity to see Nelson Mandela on several occasions when our work at the United Nations coincided. In 2001 Ione Biggs and Renate Jakupca, together as Co-Directors of the 'US Network for the United Nations World Conference Against Racism' a project of the International Center for Environmental Arts (ICEA) made their mark on contemporary history in Durban, South Africa by answering the United Nations’ call to "forge a real sense of vision and common purpose in the struggle for racial harmony and tolerance." Their courage and vision were publicly recognized when Ione and Renate received from Nelson Mandela his International Gold Medal Leadership Award in Human Rights. My condolences to his family and loved ones and to the
people of South Africa and all of the World. Now as we mourn his passing and celebrate his life, we must also find inspiration in his memory – striving daily to promote peace, freedom, and dignity for others.His lessons will live on, and his life's work will continue to inspire us all. Madiba~ Thank you for all you have given. You will not be forgotten. Peace Friend.
MARY
ROBINSON TO SIGN THE PLEDGE AGAINST RACISM
WILL MEET STUDENT ARTISTS AT INTERNATIONAL YOUTH ART EXHIBITION,
"ART AGAINST RACISM"
3 SEPTEMBER, 2001: 12:45 P.M.
FOYER AREA, GROUND FLOOR, INTERNATIONAL CONFERENCE CENTRE
DURBAN, SOUTH AFRICA
"As a citizen of the world community, I stand with the United Nations
against racism, discrimination and intolerance of any kind. Throughout my
life I will try to promote equality, justice and dignity among all people
in my home, my community and everywhere in the world".
These are the words of the United Nations Personal Pledge Against Racism,
launched in December 2000 as part of an international youth art competition
to promote the World Conference against Racism. A selection of the drawings,
paintings, essays and poems are now on view in a two-part display at the International
Conference Centre (ICC) in Durban (ground floor, foyer area) and at the Durban
Exhibition Centre (DEC).
A group of the youth artists from South Africa and from the United States
will be attending the event with Mary Robinson to present her with the "United
Nations Pledge Against Racism" on 3 September at the ICC main foyer exhibition
site.
The pledge and the art competition were organized by the United Nations Department
of Public Information in cooperation with the Youth Art Connection / Boys
and Girls Clubs of Atlanta in the United States, who worked with over 30 countries
in their global youth outreach programme, International Paint Pals.
UN Information Centres worldwide also participated, along with Survivors
Art Foundation, Totem Rythms, Cheney University in the United States and several
non-governmental organizations (NGOs).
A special nationwide competition was held throughout South Africa, organized
by the UN Information Centre, Pretoria. Former South African President Nelson
Mandela handed over the first prize--a bicycle--to Christa Schutz from Glencoe,
Kwazulu-Natal, at his home in Houghton on 9 July. Mandela asked Christa to
explain the painting and to "tell all the children I love them".
Reknowned musician Hugh Masekela was one of the five judges who selected the
winning entries for the Durban exhibit.
In Atlanta, home of Martin Luther King, Jr., the Youth Art Connection hosted
an event to "Stomp Out Racism", where hundreds of children placed
their feet in buckets of coloured paint and stepped onto a huge canvas banner,
and stomped out the words "racism, hatred, bigotry, prejudice and intolerance".
The event was held at the Martin Luther King, Jr. National Historic Site and
the banner was carried to the Durban Conference from Atlanta to be part of
the art exhibition.
Survivors Art Foundation, with students from Cheney University--the oldest
historically black university in the United States--also prepared hanging
silk paintings for the Durban Conference. Four students from Cheney University
came to Durban to help with the creation of a "Tree of Pledges"
at the exhibit site in the DEC. Totem Rhythms also created banners and "story
poles" with young and elder Native Americans, using indigenous symbols
and patterns.
Since its launch in December 2000, more than a million people have signed
the Pledge Against Racism, which was sent around the world via the Internet,
through the UN Information Centres, and through NGOs. The United Nations Information
Centres in India and Bangladesh alone collected over 60,000 signatures; many
of these are now incorporated into the Tree of Pledges in Durban.
Cleveland, Ohio - The
global movement for human rights has lost one of its great figures. Ione
Biggs, a beloved friend and defender of human rights, died Friday,
December 16th, 2005 at LakeWest Hospital. She was 89. She was a advocate
for social change in the United States, Europe, Africa, Australia and
Central America.
Ione fought tirelessly for social change. In
the 1960s she marched for Mayor Carl B. Stokes and against the Vietnam
War. She later worked with Nine Five to advocate for working women. She
backed Cleveland Women Working, Speakout for Affirmative Action, League
of Women Voters, WomenSpace, American Civil Liberties Union and many
other organizations. She attended a peace conference in Sweden. She went
to the Soviet Union to support women there who wanted nuclear
disarmament.
She was an advocate of the principles of the
United Nations and attended the 1985 UN World Conference on Women in
Nairobi, Kenya. In 1992 Ione became active with the International
Center for Environmental Arts (ICEA) in Cleveland, Ohio. She contributed
to the World Conference on Human Rights in Vienna, Austria (1993), the
Conference on Population and Development in Cairo, Egypt (1994), the
Fourth World Conference on Women in Beijing, China (1995), and the
Habitat II - Conference on Cities in Istanbul, Turkey (1996), EXPO2000
in Hannover, Germany (2000), World Conference Against Racism in Durban,
South Africa (2001) and the World Summit on Sustainable Development in
Johannesburg, South Africa (2002).
In 2000 Ione became
Honorary Chairwomen of the Board of ICEA when the organization was
nominated by TIME Magazine in their Millennium Issue as one of their
Hero's of the Planet.
In 2001 Ione Biggs and Renate Jakupca,
together as Co-Directors of the 'US Network for the Conference Against
Racism', made their mark on contemporary history in Durban, South Africa
by answering the United Nations’ call to "forge a real sense of vision
and common purpose in the struggle for racial harmony and tolerance."
Their courage and vision were publicly recognized when Ione and Renate
received the Nelson Mandela International Gold Medal Leadership Award in
Human Rights.
Full Story: http://www.bereatownforum.com/forum/posting013002003359.html
Ione and her husband, Keith, were married for 53 years, he died in 2003.
Ione is survived by a son, Keith D. Jr., of Euclid, and a daughter, Gladys Morrow of Baltimore.
Her Memorial Service was held at 10:30 a.m. Wednesday, Dec 21, 2005 at
the Church of the Covenant, 11205 Euclid Ave., Cleveland, Ohio.
Friends of Ione filled the large church to its capacity.
Opening Statements:
Congresswoman Stephanie Tubbs-Jones
Louise Lawler, Women Speak out
Renate Jakupca, Director ICEA
Paticipating Ministers:
Rev. Jonyrma R. Singleton
Rev. Harold Carter
Rev. Laury W. Larson
Rev. Dr. Robert J. Campbell
Ode to Ione Biggs
God saw you getting tired
When a cure was not to be.
He closed His arms around you
And whispered, "Ione, Come with me."
In tears we saw you fade away
You fought so hard to stay.
But when we saw you sleeping
Peacefully, free from pain,
We would not make you stay
To suffer that again.
So treasure her, Lord
In your garden of rest,
For here on earth
She was one of the best!
"Mandela taught the world that the very path to freedom and human dignity lies in love, wisdom and compassion."
A delegation of Elders is in South Africa today to attend the memorial service of their founder, Nelson Mandela.
Read the full statement by The Elders' Chair Kofi Annan: http://theelders.org/article/elders-johannesburg-mandelas-memorial-service
Utilizing the Theory of Iceality on Environmental Arts, the 'Iceality Methodology' was developed to promote the building of the Worlds Children Peace Monument (WCPM) and the Great American Peace Trail. Originally designed for MYSPACE, The 'Iceality Methodology' has been 'borrowed' as a tool for social change by virtually every social activist organization and group on Facebook and is now used by over 1 Billion people in a still growing audience.
The Revolutionary Educational Idea from the Good People at the International Center for Environmental Arts (ICEA)
"The Worlds Children Peace Monument (WCPM) and the Great American Peace
Trail (GAPT) Projects are international, public participatory art projects designed to engage children with
cross-cultural awareness in order to attain the common goal of sharing
peace and diversity with their neighbors. The peace projects, utilizing the principles of the 'Theory of Iceality on Environmental Arts' have
direct community impact through neighborhood beautification, community
and economic development while building self-esteem and hope in America.
They will help to build better neighborhoods where everyone can live,
respect and accept each other as they diplomatically negotiate errors
and differences of prejudice and hatred and instill in its place the
belief in the necessity of communication." American Cultural Ambassadors David and Renate Jakupca.
The "Theory on Iceality on Environmental Arts" used in the
building of the “Worlds Children Peace Monument (WCPM) is a learning by
association formula that builds a concept within and makes the whole greater
than the sum of its parts. A form of synergy called the Iceality Method whereby the interaction of multiple elements (
Peace Stones) work together in a culture of peace structured to reproduce in a sustainable effect, in this case the WCPM, that is superior than the sum of their
individual Stones. The learning occurs as the Worlds Children using the Iceality Methodology, take part in the education, personal development, schooling and training adding new Peace Stones from the Worlds Children Peace Monument (WCPM) to municipal parks. It is a product of nature, goal-oriented and aided by motivation by concerned personnel.
Training the Worlds Children
to be Future Peace Stewards
The Science behind Peace and Global Harmony is the
"Theory of Iceality on Environmental Arts". Developed in 1987, it is
the practical study on the aesthetics of the relationship between Humans
and their Environment through Arts and Culture, ultimately promoting an
effective sustainable global Culture of Peace between all Living Things
~Human, Plant and Wildlife Kingdoms! The
incorporation of the rights of flora and fauna in a "Universal Peace
Equation" is the first major change in achieving a sustainable global
Culture Peace on Earth in over 2000 Years. http://www.theicea.com/page22
In essence, the WCPM is a system of interrelated international components working together with a common objective: Creating a Sustainable Global Culture of Peace for All Living Things!
The Iceality Methodology is a goal-directed type of learning principle for the Worlds Children based
on the assumption that ideas and experiences reinforce one another and can be
linked to enhance the innate holistic learning process. It refers to the capability of
people to improve their communities through their own instinctive creativeness by following
the same type of positive hands on action inherent in the Theory of Iceality on
Environmental Arts that was used to create the original model at Expo 2000 in Hanover, Germany. At Germany's World's Fair, EXPO 2000's 'Culture on the Move' segment, lead by American Cultural Ambassadors David and Renate Jakupca and the 140 Nation Assembly, the concept of a permanent universal symbol of renewal and peace on earth for all living inhabitants through the 'Theory of Iceality on Environmental Arts' was conceived. This Universal Symbol of Living Peace was the WCPM sculpture. This project was initiated in cooperation with the United Nations 2000 Culture of Peace Program and organized in support of the UN Decade of Peace and Non-Violence for the Children of the World and the United Nations Millennium Development Goals. The Iceality Methodology used to expand the WCPM globally has its origins in Nature itself, utilizing the basic fact that All Living things have an inherent need to grow and prosper. Like a parent plant grows and sprouts seeds to propagate and grow, The WCPM uses WCPM Peace Stones to grow and send their messages of Peace. Their increased productivity in creativity is achieved through practice, self-perfection, and
individual innovations from the original environmental artwork or idea.Research has proven that this repetitive type
of learning process is based on the principle that related different ideas and
experiences reinforce one another and can be linked together and to enhance the
whole learning process. Through this collaborative creative process,
individuals and communities are not simply beneficiaries of public art or
recipients of treatment, but co-creators of the work as they learn new skills,
gain knowledge among peers and community members, and play an active role in
improving their physical community neighborhood. The Iceality Methodology is now the main process that organizations are utilizing to promote the United Nations Culture of Peace initiative.
Other examples of the Iceality Methodology in Greater Cleveland are listed in the reference section below [1]
The concept of learning-by-doing has been incorporated by American
Cultural Ambassadors David and Renate Jakupca in their design of endogenous
growth of the WCPM to explain effects of innovation, technical and artistic growth
of the Worlds Children Peace
Monument. They use the
concept to explain increasing returns to the embodied human capital working for
Peace. At the ARK in Berea, the Jakupca’s have shown that learning by doing plays a role in the
evolution of neighborhoods to greater specialization in production. In both
these cases, learning by doing and increases the returns that provide an engine
for long run growth.
The WCPM Peace Stones community/business
opportunity provides a low-cost, low-risk means to achieve all this, and more.
For instance:
It is a way to meet other
people and develop new friendships
It gives the Families a
chance to work closely together and develop stronger ties
It helps our children to
develop and refine their business skills
It provides people the
flexibility to organize and manage their time as they wish
It gives opportunities to
those Family members who might not otherwise have them to succeed on their
own.
In conjunction with the learning by doing concept, a non-formal
learning method is organized learning outside the formal classroom learning
system. For example: Coming together with people with similar interests and
exchanging viewpoints, in clubs or in (international) youth organizations and workshops…the
group of teachers, civic leaders and interested community organizations work
with the artist to set the goals of the Peace Stone Project that will engage
the local youth in the project objectives.
In some situations, the educational arrangement can use a combination of
formal, informal, and non-formal learning methods. ICEA assisted the United
Nations to recognize these different forms of learning.In some counties, children can get points
that count in their formal learning systems for the work done in the more
convenient informal learning curriculum. Additionally, as long as they can help
to prepare, contribute, share and improve on this offered valuable new insight
to peace, they may also be given time to assist in teaching and get actual work
experience in organizing what they have learned in their own Worlds Children
Peace youth workshops and training courses. This closes the significant gap
between what children are told is important for their future career success and
what business leaders actually want from the emerging workforce. Creative individuals
are actually in demand, not just for arts careers, but for careers in business
as well.
So, even if the Worlds Children are not artistic prodigies, those hours spent practicing
is not a total waste. “This Theory of Iceality on Environmental Arts suggests
the importance of a liberal education for today’s Worlds Children and prepares
them for a healthy dynamic lifestyle for their tomorrow”.The fact is, that training in the Iceality
Methodology in childhood affects their everyday life as older adults, and in
our study this is especially true as the neural timing of the brain is the
first to go in the aging adult,” said the Ambassador Renate.
Utilizing the Theory of Iceality on Environmental Arts, the 'Iceality Methodology' was developed to promote the building of the Worlds Children Peace Monument (WCPM) and the Great American Peace Trail. Originally designed for MYSPACE, The 'Iceality Methodology' has been 'borrowed' as a tool for social change by virtually every social activist organization and group on Facebook is used by over 1 Billion people in a still growing audience.
By India
Keyes
David Jakupca
American Cultural Ambassador
Universal Peace Ambassador
Spiritual Father of the Environmental Art Movement
Fonder of the International Center for Environmental Arts (ICEA)
Related Links: A) - ICEALITY SILVER REVELATION http://theicea.com/page3 B) - North East Ohio Area has been 'branded' as the Home of the Environmental Art(s) Movement In a historic re-unification of the North Coast Community, as part of the Iceality Silver Revelation,
North East Ohio Area has been 'branded' as the Home of the
Environmental Art(s) Movement by the International Center for
Environmental Arts (ICEA) as a 'Cultural Industry', to foster civic
identity, cultivate jobs and tourism, and brand Ohio Environmental Arts
and Culture District in the Bioregion.
"Throughout history, various movements in Art have taken place:
impressionism, Modernism, Abstract Art, Photo-Realists to name a few.
Recently Pop Art debuted in the 1960’s and now at the beginning of the
21st Century, socially aware artists with a vision is making a
difference in Art History. The pioneer artist of this new genre of art,
David akupca, calls this type of expression this the "Environmental Art
Movement". He is also the founder of the: International Center for
Environmental Arts (ICEA)which is exclusively devoted to environmental
and humanitarian concerns facing Mankind in the 21st Century". Art
Critic and Writer, Priscilla Cinadr http://theicea.com/page25
[1] Environmental Art Examples in Greater Cleveland of the Iceality Methodology :
Rock and Roll Hall of Fame: GuitarMania® is a Greater Cleveland community public art project that has raised $2 million for its two benefiting charities - United Way of Greater Cleveland and the Rock and Roll Hall of Fame and Museum's education programs. The project consists of large, 10-ft-tall Fender® Stratocaster® guitars creatively transformed into works of art by local artists and national celebrities. The guitars are displayed on the city streets of Cleveland for residents and visitors to enjoy from the end of May through October, 2012. Corporations, organizations and individuals sponsor the guitars and select from a variety of local artists to paint, sculpt or decorate them. Celebrity artists also paint and decorate guitars. http://www.cleveland.com/guitarmania/
Cleveland's Asia Town. In the Chinese zodiac it is the year of the dragon. There are twelve animals, and five cycles. This time, a water dragon. On one there is a limerick, reflecting Cleveland's geography and history: Eerie monsters lurked in our lake•This we claim, a mistake•Crooked river caught fire• The lake's future loomed dire•These dragons guard all in their wake./ http://rustbeltvoice.blogspot.com/2012/05/dragons-have-come-to-cleveland.html
Collinwood Painted Rain Barrel Project, Environmental Artist Linda Zolten Wood, was inspired by St. Clair's 'Year of the..." statue competition/ auctions, and Northeast Shores Development Corporation free rain barrel distribution for 25 Collinwood residents per year. She and a jury of professional artists, selected from 25 area artists, who were called to create images inspired by lake sustainability, the North Coast and North Collinwood history. http://www.broadwayworld.com/bwwart/article/The-Collinwood-Painted-Rain-Barrel-Project-413-20130305
Moving Lives of Kids Art Center (MLK Mural) http://www.mlkmural.com MLK Mural is a new organization, that focuses on empowering youth through public environmental art education.
Follow the Fish Art and Adventure Trails® is a new collaborative Lorain County arts initiative founded on June 21, 2012 that serves as a catalyst for local and regional tourism while celebrating our local businesses, communities, assets, and natural environment. http://www.followthefishtrail.com
Successful creative placemaking… …places artists and art at the center of planning, execution and activity. …leverages the creative potential already present in a place. All places have creative potential just waiting to bubble up. Even while drawing on resources from beyond the community, leveraging local artistic and organizational talent and assets increases the value in a community and the commitment to it, while nurturing an enduring sense of place. …creates opportunities for people of all income levels and backgrounds to thrive in place. As its value increases, a place that is intentionally inclusive and connected is more likely to spur economic opportunity and allow people to succeed where they are. …supports economic diversity in the community, providing multiple points of entry and interaction for people of all incomes. The more economically integrated a community is, the more access to opportunity exists for all.…creates interesting places that capitalize on distinctiveness. A creative approach improves the aesthetics of a place, whether it is the look, feel, sound or even smell. The difference sets that place apart as more interesting than others. A place that expresses its distinctiveness and resists com-modification and sameness is more likely to have long-term appeal. …creates a place where people want to go and linger. Successful places attract people beyond those required to be there. People lingering is an investment of time in a place and is apt to lead to additional investments. …contributes to a mix of uses and people that makes places more diverse, more interesting and more active, thus making spontaneous interaction more likely. Intensifying and mixing activities creates the promise that visitors can stumble onto the fun, mingle with other people, or happen upon opportunity. …fosters connections among people and across cultures. The relationships built among diverse groups of people create safer, more open places that create more opportunity and foster a sense that everyone is welcome. …is always presenting itself to the public and encouraging pedestrian activity. Whether open or closed, a place that is a consistently interesting and active presence to the street promotes more pedestrian activity and creates the public perception that the place is safer and more animated. More pedestrians mean more prospective customers on the street to support more small businesses. …creates a place where business wants to be. As a place becomes more active, commerce is likely to respond, thus giving people even more reasons to be there. …convinces people that a place can have a different and better future. http://www.artplaceamerica.org/articles/principles-of-creative-placemaking/
…leverages the creative potential already present in a place. All
places have creative potential just waiting to bubble up. Even while
drawing on resources from beyond the community, leveraging local
artistic and organizational talent and assets increases the value in a
community and the commitment to it, while nurturing an enduring sense of
place. …creates opportunities for people of all income levels and
backgrounds to thrive in place. As its value increases, a place that is
intentionally inclusive and connected is more likely to spur economic
opportunity and allow people to succeed where they are. …supports economic diversity in the community, providing multiple
points of entry and interaction for people of all incomes. The more
economically integrated a community is, the more access to opportunity
exists for all. …creates interesting places that capitalize on distinctiveness. A
creative approach improves the aesthetics of a place, whether it is the
look, feel, sound or even smell. The difference sets that place apart as
more interesting than others. A place that expresses its
distinctiveness and resists commodification and sameness is more likely
to have long-term appeal. …creates a place where people want to go and linger. Successful
places attract people beyond those required to be there. People
lingering is an investment of time in a place and is apt to lead to
additional investments. …contributes to a mix of uses and people that makes places more
diverse, more interesting and more active, thus making spontaneous
interaction more likely. Intensifying and mixing activities creates the
promise that visitors can stumble onto the fun, mingle with other
people, or happen upon opportunity. …fosters connections among people and across cultures. The
relationships built among diverse groups of people create safer, more
open places that create more opportunity and foster a sense that
everyone is welcome. …is always presenting itself to the public and encouraging pedestrian
activity. Whether open or closed, a place that is a consistently
interesting and active presence to the street promotes more pedestrian
activity and creates the public perception that the place is safer and
more animated. More pedestrians mean more prospective customers on the
street to support more small businesses. …creates a place where business wants to be. As a place becomes more
active, commerce is likely to respond, thus giving people even more
reasons to be there. …convinces people that a place can have a different and better future. - See more at: http://www.artplaceamerica.org/articles/principles-of-creative-placemaking/#sthash.P6CHwRyV.dpuf
Successful creative placemaking…
…places artists and art at the center of planning, execution and activity.
…leverages the creative potential already present in a place. All
places have creative potential just waiting to bubble up. Even while
drawing on resources from beyond the community, leveraging local
artistic and organizational talent and assets increases the value in a
community and the commitment to it, while nurturing an enduring sense of
place.
…creates opportunities for people of all income levels and
backgrounds to thrive in place. As its value increases, a place that is
intentionally inclusive and connected is more likely to spur economic
opportunity and allow people to succeed where they are.
…supports economic diversity in the community, providing multiple
points of entry and interaction for people of all incomes. The more
economically integrated a community is, the more access to opportunity
exists for all.
…creates interesting places that capitalize on distinctiveness. A
creative approach improves the aesthetics of a place, whether it is the
look, feel, sound or even smell. The difference sets that place apart as
more interesting than others. A place that expresses its
distinctiveness and resists commodification and sameness is more likely
to have long-term appeal.
…creates a place where people want to go and linger. Successful
places attract people beyond those required to be there. People
lingering is an investment of time in a place and is apt to lead to
additional investments.
…contributes to a mix of uses and people that makes places more
diverse, more interesting and more active, thus making spontaneous
interaction more likely. Intensifying and mixing activities creates the
promise that visitors can stumble onto the fun, mingle with other
people, or happen upon opportunity.
…fosters connections among people and across cultures. The
relationships built among diverse groups of people create safer, more
open places that create more opportunity and foster a sense that
everyone is welcome.
…is always presenting itself to the public and encouraging pedestrian
activity. Whether open or closed, a place that is a consistently
interesting and active presence to the street promotes more pedestrian
activity and creates the public perception that the place is safer and
more animated. More pedestrians mean more prospective customers on the
street to support more small businesses.
…creates a place where business wants to be. As a place becomes more
active, commerce is likely to respond, thus giving people even more
reasons to be there.
…convinces people that a place can have a different and better future.
- See more at: http://www.artplaceamerica.org/articles/principles-of-creative-placemaking/#sthash.P6CHwRyV.dpuf
Successful creative placemaking…
…places artists and art at the center of planning, execution and activity.
…leverages the creative potential already present in a place. All
places have creative potential just waiting to bubble up. Even while
drawing on resources from beyond the community, leveraging local
artistic and organizational talent and assets increases the value in a
community and the commitment to it, while nurturing an enduring sense of
place.
…creates opportunities for people of all income levels and
backgrounds to thrive in place. As its value increases, a place that is
intentionally inclusive and connected is more likely to spur economic
opportunity and allow people to succeed where they are.
…supports economic diversity in the community, providing multiple
points of entry and interaction for people of all incomes. The more
economically integrated a community is, the more access to opportunity
exists for all.
…creates interesting places that capitalize on distinctiveness. A
creative approach improves the aesthetics of a place, whether it is the
look, feel, sound or even smell. The difference sets that place apart as
more interesting than others. A place that expresses its
distinctiveness and resists commodification and sameness is more likely
to have long-term appeal.
…creates a place where people want to go and linger. Successful
places attract people beyond those required to be there. People
lingering is an investment of time in a place and is apt to lead to
additional investments.
…contributes to a mix of uses and people that makes places more
diverse, more interesting and more active, thus making spontaneous
interaction more likely. Intensifying and mixing activities creates the
promise that visitors can stumble onto the fun, mingle with other
people, or happen upon opportunity.
…fosters connections among people and across cultures. The
relationships built among diverse groups of people create safer, more
open places that create more opportunity and foster a sense that
everyone is welcome.
…is always presenting itself to the public and encouraging pedestrian
activity. Whether open or closed, a place that is a consistently
interesting and active presence to the street promotes more pedestrian
activity and creates the public perception that the place is safer and
more animated. More pedestrians mean more prospective customers on the
street to support more small businesses.
…creates a place where business wants to be. As a place becomes more
active, commerce is likely to respond, thus giving people even more
reasons to be there.
…convinces people that a place can have a different and better future.
- See more at: http://www.artplaceamerica.org/articles/principles-of-creative-placemaking/#sthash.P6CHwRyV.dpuf
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Today, an eloquent voice has been silenced, a beautiful mind stilled, and a bountiful heart stopped. The epic soul of Nelson Mandela is now resting.
