MASS ART MOVEMENT process book

FINAL PROJECT PROCESS BOOK

HAIYI HE

BA DESIGN MANAGEMENT

LONDON COLLEGE OF COMMUNICATION

MASS ART MOV

VEMENT

INTRODUCTION This process book documents my final

local minority communities, especially Latin

major project’s trajectory for the BA Design

Americans who have made a strong presence

Management course. For this project

in E&C since the 1990s. The vibrant cultural

‘MASS ART MOVEMENT’, I took on an

scene that once existed in E&C has been slowly

autoethnographic and practice-led approach. I

disintegrating, while new residents struggle

used various primary and secondary research,

to foster a sense of belonging in the area.

as well as research through practice, to enquire

My solution aims at creating an opportunity

into my initial question — “How can I foster

of interaction between Latin Americans and

a stronger connection with my surrounding

the new residents to reinforce a strong and

environment in London as a foreign student?”

tenacious community in E&C.

Over the course of researching and developing this project over the past six months, I have managed to focus the vague idea of ‘connection to space’ on community building in Elephant and Castle (E&C), the area where I live when I studied my undergraduate.

Urban regeneration policies and actions have improved the area at the cost of marginalising

CONTENT PAGE • OVERVIEW ...pg 2 • THE INITIAL IDEA ...pg 10 • PROBLEM FOCUSED ...pg 22 • PROBLEM REFRAMED ...pg 32 • IDENTIFYING USER NEEDS ...pg 24

• SEEKING SOLUTION I ...pg 34

• GENTRIFICATION ...pg 28

• PROBLEM REDEFINED ...pg 40 • SEEKING SOLUTION II ...pg 42 • SOLUTION: MASS ART MOVEMENT ...pg 50

1

OVERVIEW

I. PRACTICE-LED RESEARCH

My initial research question is formed through

research methods I should use to support

an autoethnographic perspective. Choosing

the knowledge from practice, and to find

a practice-led approach allowed me to

overlapping insights to reiterate and narrow

incorporate and identify my own subjectivity in

down the problem statement to develop a

the research process.

clearly targeted solution.

According to Lin (2018), creative-production

Due to the time constraint of this project, I

projects are driven by artmaking for meaning-

decided to utilise only qualitative research

making. I experimented with four ways of

methodology based on a constructivist

practice to obtain knowledge experimentally

worldview to study multiple realities (Hickman,

and creatively, which also developed the

2008). I felt that it is more important to

solution continuously. My knowledge and skills

understand individual experiences under

in artmaking facilitated my prototyping and

this complex and fluid landscape rather than

ideation. The method also allowed me to work

diminishing results to numbers that tell little of

collaboratively with participants as they get to

individual stories.

input their knowledge and test things out for themselves.

I used the Double Diamond framework

by Design Council to think through the

2

II. DOUBLE DIAMOND FRAMEWORK Design frameworks and analytical tools were used to aid the research and development of the outcome.

Frameworks were chosen based on what was required to process the data.

Following Double Diamond’s framework of diverging and converging paths also ensure that there is considerable effort put into both exploring without a clear solution and consolidating findings from the exploration. The iterative process ensures that the research conducted is worthwhile and that the solution meets real needs.

Fig. 1: Double Diamond framework for my process.

3

III. ITERATIVE PROBLEM STATEMENTS

Fig. 2: three stages of problem reiteration.

4

IV. ETHICS My research consists of interviewing and observing actual people in the field, specifically minority groups. It is therefore crucial for me to conduct research ethically. In Hammersley and Traianou’s (2012) study, they outlined five main ethical principles: 1) minimising harm; 2) respecting autonomy; 3) protecting privacy; 4) offering reciprocity; 5) treating people

No harm

Autonomy

equitably.

Privacy

Conducting research ethically I informed my participants about my project and research goal and how the data will be used before any data collection.

I have anonymised all users whom I interviewed in this report and removed identifying information.

Equitable

Reciprocity

Although I wanted to target my research at Latin Americans, I have also interviewed and prototyped with other BAME groups,

Fig. 3: the five ethical principles by Hammersley and Traianou (2012).

as I did not want to exclude their voices.

5

V. AUTOETHNOGRAPHY In an autoethnographic study, the researcher brings details about her life ”onto the examination tables to sort, label, interconnect, and contextualise them in the sociocultural environment” (Chang, 2008, p. 51). Similar to a practice-led approach, the research topic following an autoethnographic enquiry will be gradually refined, but may be redirected (Chang, 2008). It is important to ensure that the chosen methodologies are not in conflict with each other. I used primary research including interviews, participant observations and secondary research such as desk research (i.e. reading online resources) and exhibition research to triangulate autoethnographic data so the research is not self-indulgent.

Strengths

Weaknesses

Gain rich personal insight that celebrates

Excess focus on self without taking in

the unique voice of the self.

the account of others.

Powerful for dealing with human

Overly emphasizing personal narrative

relations in multicultural settings.

rather than analysis and cultural

Leads to the discovery of self and

interpretation.

others.

Exclusive reliance on memory.

Fig. 4: strengths and weaknesses of autoethnography by Chang (2008).

6

VI. PROCESS MAPPING

This map seeks to explain how research has progressed and how the various methods and focus of research have led to new discoveries (the point of converge) labelled on ‘project milestone’ that help to advance this project.

Fig. 5: my process map.

7

VII. TIMELINE

Fig. 6: timeline of the overall process.

8

As seen from the graph below, my process has demonstrated various iterations of the problem definition and I have engaged with my users and audience in a wide range of ways.

VIII. LITERATURE REVIEW

Using Frayling’s (1993) categorisation of research, I categorised my literature review into three categories 1) For: used for conducting research methods; 2) Through: used for developing solutions; 3) Into: used for examining topics and contexts.

Fig. 7: literature review mapping.

9

THE INITIAL IDEA Adapting from Cambridge Dictionary’s definition of ‘connection’, the idea of ‘connection with space’ is the extent of the relationship between a person with a physical space. It is the closeness we feel to a space. I further narrowed down the scope to London’s outdoor space as most people feel safe and comfortable in their homes.

Regarding the connection to outdoor space, I mapped out some key factors that might impact or relate to the concept. It would be hard to assess the extent of connection because emotions are hard to measure, and many factors could cause the feelings of connection to fluctuate.

10

I. MAPPING CONNECTIONS

Fig. 8: ideas around connection with outdoor space.

11

A place can mean so much to a person. Not

never felt the same kind of autonomy I had

only is it a space of dwelling, but it also creates

back at home.

feelings and memories unique to the person and the place. In 2018, I graduated from high

I always feel an acute sense of being

school in Singapore. Singapore is reputed

different to others when I walk around my

as one of the safest countries in the world.

neighbourhood. I often grappled with anxiety

Walkways were so clean that you can almost sit

and fear of being outdoors in London. So,

on them. It is also very safe that I always walk

I really missed the times back when I could

in the Botanic Gardens alone for two hours

just lie down in the park after sunset. I even

past dawn.

miss the mosquitoes that bite me when I occasionally put my guard down.

Although I came to London in 2019, I have not got quite accustomed to the environment here.

It is just very different from where I used to come.

My disconnection with space was exaggerated when COVID-19 hit and before I knew what London is like, I had to fly back to China to do distance learning.

In October 2021, I moved into E&C, and have

12

II. MY STORY MOVING TO LONDON

I wish to connect better with my new environment and to feel safe.

Fig. 9: my story moving to London.

13

III. NEWS PERPETUATED ON CHINESE SOCIAL MEDIA The crime rate in Elephant and Castle has been falling because of urban regeneration. However, many still feel it is dangerous to live in. For Chinese living in London, it is mainly because this view that Elephant and Castle is dangerous is widely circulated on the popular social media platform ‘Xiaohongshu’ (Little red book) used by the Chinese-speaking population to obtain quick help information on everyday life.

Social media perpetuates the notion that Elephant and Castle is a scary and dangerous place that people should be extra careful going around. It is very different from countries like China and Singapore where I used to live.

Fig. 10: a quick search of the keyword E&C on Xiaohongshu yields the above results.

Fig. 11: a hand-made collage showing environments of where I came from.

14

IV. EXHIBITION VISIT I visited the RCA 2022 graduation show and found some works that resonate with my idea.

The glass work on the left is done by RCA Ceramic & Glass student Phillipa Silcock. She seems like she is in her fifties when I met her. Her theme is feeling nostalgic for her home environment and she expresses her feelings and sensations of being in a particular space through mixed media materials.

She told me that she lives far away from her birthland and very much misses it.

Fig. 12: Phillipa Silcock’s (2022) Remains of a Summer day.

The project on the right is a community project that aims at eliminating fears in first-time bikers in London, by expert-led group cycling trips. The project focuses on promoting strong pull factors of cycling to help eliminate emotional barriers, which I consider a useful strategy for my project.

Fig. 13: Serene Yap’s (2022) Cyched!.

15

V. VISUAL ETHNOGRAPHY From Design Management class, we learnt that doing visual ethnography is also a method of data collection, as many background stories could be dismissed by the researcher but revealed through the visuals. To prepare for our interim exhibition in early December 2022, I explored two kinds of arts practice. The first of which was a photography project which I conducted in three selected locations in London: Richmond park, LCC and Elephant and Castle. The other event, which yielded more findings for me, was a social experiment that I did on Walworth Road, Elephant and Castle.

Fig. 14: my explorative practices and aims.

16

1. Photography book The photography book has 54-pages of photographs and texts. It investigates my feelings of connection with 3 places.

This practice felt successful as I was able to express myself and identify the feelings I have associated with feelings of connection. I also honed my photography skill and wrote my own autoethnographic experience. I focused on both the phenomenological and the social aspect of space. As I am doing this, I realised that it is good to focus on a geographical location for the notion of ‘space’ as different space has its own unique mood and ‘vibe’.

Fig. 15-17: pages from my photography book; top: LCC, bottom left: E&C, bottom right: Richmond Park).

17

2. Social experiment While the photography project allowed me to

I felt more connected to the neighbourhood

investigate and express my perceptions of three

as a result of seeing how friendly people are. I

different spaces, the social experiment was to

also overcame my anxiety in encountering the

explore how others around my neighbourhood

diverse differences in Elephant and Castle after

feel. I was interested in the intersectionality

the project. It was very transformative for me

between our experiences, and to triangulate

and for others who participated and engaged

the autoethnographic data in my photography

with the work despite the event lasting only for

book which is solely about my own experience

four hours.

in London.

The social experiment was able to attract around 30 passers-by to participate in making the artwork. While they drew, I also asked them about their feelings expressed in their work.

I found that the arts-based approach could facilitate making social connections, as we do not usually talk about these personal feelings

Fig. 18: a close-up photograph of the canvas.

with strangers.

The event was recorded with DSLR, and later made into a timelapse video to document the process. The canvas also served as visual data for people’s perceptions about the outdoor space.

18

Interestingly, a participant who works around the area expressed that she does not like to linger around in Elephant and Castle as the place feels too segregated to her. “The communities are too diverse and they do not interact with each other,” she said. Her insight has led me to research the issue of social segregation and gentrification in E&C.

Fig. 19: passers-by drawing on the canvas during the experiment.

Findings •

People from a variety of cultures, age groups, and walks of life joined the participatory process of artmaking. This shows the effectiveness of artistic intervention in the public space.

•

‘Safety’ is a subjective feeling and varies from person to person depending on where they came from. This rapidly changing area may feel alienating to me but feels safer to people who lived before in more dangerous places.

•

Many really liked the experience of drawing as they do not do it usually while art students have taken it for granted.

•

I felt more connected to my community after conversing and interacting with the diverse communities at Elephant and Castle.

19

As a small area in South London, Elephant and Castle started off being the name of a popular local pub situated in the village of Newington. It was known as the “Piccadilly Circus of South London” (Humphrey, 2013).

Gentrification is defined by Lees et al.

since the demolishment of Heygate

(2008, p. 15) as “the transformation of

Estate and the old Elephant and Castle

a working-class or vacant area of the

shopping centre. New residential flats are

central city into middle-class residential

developed by private companies such as

and/or commercial use”.

Getliving, causing the housing price to rise sharply.

‘Urban regeneration’ is a term primarily

20

used in policies by authorities, as it

Gentrification has been highly debated

simply implies a city’s urban built

because it has both pros and cons. In

environment being renovated through

Atkinson and Bridge’s (2005, cited in Lees

the construction of new-builds. Not all

et al., 2008) analysis of gentrification,

kinds of urban regeneration could be

the positives of gentrification include

classified as gentrification. However, in

increase in economic revenue and

Davidson and Lees’ (2005, cited in Lees

attracts more investments to invigorate

et al., 2008) The Cases for and against

the area, while negatives include the

New-Build Gentrification, it is evident

displacement of people through rise

that Elephant and Castle is undergoing

in rent prices, resulting in “community

gentrification since some of its minority

resentment and conflict”, “homelessness”,

populations have been displaced

“loss of social diversity” etc.

VI. GENTRIFICATION IN ELEPHANT AND CASTLE

Given the obvious negative impacts of gentrification, my project does not

ELEPHANT AND CASTLE STATION

directly deal with the business economic consequences of this phenomenon, but rather endeavours to bring communities together under this situation that is causing some to feel more alienated from the environment. This avoids exaggerating the already-existing conflicts and potentially builds a bridge between residents and policy-makers through an arts-based intervention.

Fig. 20: Elephant and Castle illustration.

21

PROBLEM FOCUSED

22

A shift from physical space to its socio-cultural aspect as people’s experience in a space encapsulates the social relationships that exist in a space (i.e. whether a space feel safe depend heavily on the people).

How might we build a stronger community in Elephant and Castle using an artsbased approach?

Both my practice and Stern and Seifert’s (2007) research have validated arts-based approach in crossing social boundaries, such as “age, gender, race or ethnicity, and occupational status” and facilitating inclusivity.

23

IDENTIFYING USER NEEDS Interviews were conducted with four new

Verbal consents were obtained before any data

residents in Elephant and Castle. Interviewees

collection and individual’s identity has been

were recruited from within 0.2 miles of the

anonymised. The interview followed a semi-

new development flat O’ Central on Crampton

structured approach aiming to interrogate the

Street.

new residents’ experience of living in Elephant and Castle. The semi-structured interview

As a resident there, I have access to the

questions helped to identify needs that I have

building. I sent out posters to recruit

not previously thought of.

participants for the interview and talked about the focus which is to build community for the new residents in Elephant and Castle.

Two people attended the interview at O’ Central upon seeing the posters, while I also received neighbours’ postcards put into my mailbox the following days, telling me that they like the initiative. This emphasises the need to better enforce the community in Elephant and Castle.

24

I. EMPATHY MAPPING I used the Empathy Map to map out the data gathered from the interview, to empathise with different individual’s perspectives and perceptions. The map helps to understand what the new residents in E&C value and to identify their needs.

User A: Male, 38, from Peterborough, UK

User B: Male, 31, from France

Years living in Elephant and Castle : 2

Years living in Elephant and Castle : 3 and half

Building name: O’ Central

Building name: O’ Central

25

User C and User D are Chinese undergraduate students who live within 0.2 miles of O’ Central. It is worth noting that the results from the interview collide with previous research conducted about the impact of Chinese social media Xiaohongshu on Chinese people’s perceptions of danger in Elephant and Castle.

Fig. 21-24: empathy map used to analyse interview data.

26

User C: Female, 22, from China

User D: Female, 22, from China

Years living in Elephant and Castle : 1

Years living in Elephant and Castle : <1

Building name: Highline Building

Building name: 22 Amelia Street

II. NEEDS OF THE NEW RESIDENTS From my interviews, the four participants have vastly different interests and personalities.

Crossovers are summarised below: •

Users C and D (both Chinese) are more worried about their physical safety and valuable belongings and feel that E&C is dangerous.

•

User B (French) and the two Chinese interviewees need a sense of support from the people around them.

•

Users A (British), User B (French) and User C (Chinese) are interested in gaining new experiences and hearing others’ stories. However, User C prefers experiences in small towns outside London where people feel safer and simpler to her. While User D (Chinese) seems to be less likely to immerse in other cultures due to a sense of fear or anxiety.

•

Users B, C and D prefer quieter and more intimate environments while User A (from Peterborough) also enjoys being immersed in a nosy and busier area apart from being in quiet spaces.

Seeing how all four interviewees adopt different perspectives to living in London but still share certain needs, I feel that the diversity of people living in London implies a need for people to communicate and connect across their differences so they can appreciate other attitudes and ways of living in Elephant and Castle. These differences also pertain more to individual traits rather than cultural-specific contexts.

27

GENTRIFICATION The exhibition ‘Southwark Today’,

I also found that the arts-based

produced by Southwark Council

approach is used by organisations as an

at Southwark Heritage Centre and

empowering method to tell otherwise

Walworth Library, provided me with

untold stories of marginalised people.

a good starting point. Before visiting the exhibition, I had little knowledge

Charity organisation Latin Elephant

of Latin Americans making a strong

provides a context of the community of

presence in the community as I do not

BAME people in the old shopping centre.

know how these people look, what

The BAME businesses were forced to

language they speak or anything about

leave the shopping centre in 2021 due to

their culture. I have not had any Latino

regeneration policies. I understood how

friends or acquaintances. I realised that

the old Elephant and Castle shopping

the community of Elephant and Castle is

centre, demolished in 2021, used to be a

not segregated as I thought it is. Seeing

locus for Latino businesses and a vibrant

and knowing about stories in the local

cultural scene to set in place.

community made me appreciate the uniqueness of Elephant and Castle — a

The exhibition led me to further

diverse community that has a unique

investigate Latin Americans’ history in

migrant and ethnic make-up.

Elephant and Castle. Latin American retailers began setting up their

28

“Latin Americans are the eighth largest non-UK born population in London and are the second fastest growing migrant population from outside the EU” (McIlwaine and Bunge, 2016, cited in Román-Velázquez, 2022). businesses in Elephant and Castle in

I was determined to see what I can do

the early 1990s and have since

to help this close-knitted community

created a distinct Latin Quarter in the

and know them better. I no longer

neighbourhood (Román-Velázquez’s

feel the same sense of alienation and

2022).

disconnection with my environment as

I. LATIN COMMUNITY IN ELEPHANT AND CASTLE

I begin to know more about the people Goldzweig et al. (2023) express that more

dwelling in my neighbourhood — who

research and involvement with Latin

they are, how they feel and what they

American, Caribbean, African and Middle

do.

Eastern communities in E&C is needed as the migrant economy is crucial to the area’s cultural and economic vitality.

Similarly, Román-Velázquez (2022) criticises urban regeneration policies for resulting in “replicable urbanism that erases difference and uniqueness of a place” by excluding the existing communities in “claiming their own cultural urban spaces”.

Fig. 25: Latin Elephant’s poster in Southwark Today exhibition.

29

II. MY POSITIONALITY Acknowledging my potential biases, I need to empathise with Latin Americans who are marginalised by this phenomenon by interacting with their culture and finding their needs.

As an international student, I am attracted by the promises of urban regeneration: a more modern, safer area that makes it look like the clean and modern Singapore where I lived before. Similarly, many Chinese students choose to live in taller and more modernlooking buildings when it comes to finding a house to stay. We are the population that authorities hope to attract into the area by renovating the place. As a new resident in the area, I lack any connection to the local communities and history.

Fig. 26: my positionality helps me to identify my biases.

30

III. STAKEHOLDERS MAP

After doing secondary research on who have been involved in the area, I mapped the stakeholders for this project and defined my users and target audience. My user is the people who will use my solution, while my solution aims at gaining support from the target audience.

Fig. 27: stakeholders map.

31

PROBLEM REFRAMED

32

From my reflections, I found that we could create a stronger sense of belonging through effective ways of telling stories of the community and the transformation of the neighbourhood.

How might we communicate the stories of Latin Americans in Elephant and Castle to the new residents using an arts-based approach, so as to reinforce a strong and tenacious community?

The wording of my problem statement has changed after realising the strong presence of the Latino community in E&C. The focus is now on community building through sharing local stories.

33

SEEKING SOLUTION I I. CURRENT SOLUTIONS I started off by researching the projects that document and tell stories of the local community. I found two projects that are done, one is a series of books produced by London College of Communication, the other is the termly Elephant Magazine produced by Southwark Council.

34

1. LCC’s Elephant and Castle project

These three books: Economy, Home, Community (Sutherland, 2012) are parts of a documentary photography project that staff and students from London College of Communication produced in response to the changes that Elephant and Castle has been through under urban regeneration. Using photographs and text, they capture the experiences and lives of people between 2008-2012 while the area was being regenerated and significant buildings such as the Heygate Estate were being planned to be demolished.

Different stories told under the different lenses of students evoke both happiness and tears of people having to be displaced from their homes. They present to us both benefits and adverse consequences implicated by regeneration. The project expresses a need to acknowledge and express the Fig. 28: LCC’s documentary photography project about people’s lives in Elephant and Castle under regeneration.

social impact of gentrification on marginalised communities.

35

2. The Elephant Magazine

The Elephant Magazine produced by Southwark Council aims at informing people of the policies and changes undergoing in Elephant and Castle during regeneration. It showcases and celebrates the cultural diversity of Elephant and Castle through reporting different stories of people. The overall tone is highly optimistic as it does not talk about any neglect in such policies.

When talking about the regeneration of the Heygate Estate, it expresses the belief that better and more technologically advanced urban design will allow the place to be sustainable while supporting local people and businesses (The Elephant, 2013, p. 8). It is in direct disagreement with the reports about the displacement of minorities caused by regeneration policies, also with what is expressed by Speck (2008, p.45), who wrote that the demolishment of the Heygate was responded with emotions that “ranges from contentment Fig. 29: A page from the Elephant Magazine by Southwark Council.

36

through indifference to sadness and despair.”

3. SWOT analysis

Strengths:

Weaknesses:

•

The unique voices of individuals are heard in these storytelling publications.

•

The engagement is one-directional and may not lead to a stronger sense of community.

•

The publications often only show one side of the story and could be edited based on individual biases or private agendas.

Opportunities:

•

For paper medium, communication is also one-directional and lacks interaction.

•

Efforts have been made by community organisations and local authorities to express the stories of individuals living and working in the local area.

•

Could seek support from LCC since the college is already interested in projects concerning the community in Elephant and Castle.

Threats:

•

May be ineffective in engaging with new residents who might not be interested to read these publications and would not have accessed them in the first place.

37

II. PERFORMATIVE COMMUNICATION After doing SWOT Analysis, I decided to find a more evocative medium of storytelling. I started devising a performative communication workshop based on researching theories used in body psychotherapy. The workshop was tested with 22 Design Management students and I gathered feedback using a QR code leading to a Google form with open-ended questions.

The performative communication workshop was developed from theories of focusing and authentic Movement.

Focusing is a methodology that helps an individual to wait and seek new feelings, sensations and ideas that emerge from one’s own body (Johnson, 2007). It is a way of understanding the body.

I used focusing to design my first activity which involved a guided speech towards finding ‘safe space’ in one’s mind and connecting the physical sensations to

38

Fig. 30-31: activity prompts from my presentation slides.

the safe space while the participants’

of trust and containment for the person

encouraged to think of our own safe

eyes were closed. This activity allows

performing.

space. I thought that it would be better to communicate safe space through the

the participants to relax and build trust in both the facilitator (me) and the

Such activities allow participants to

mediation of another medium rather

environment surrounding them. It also

show mutual trust, and connect with

than directly expressing ourselves to

serves to slow their mind down, as in

each other on a deeper, emotional level

others.

meditation, to reconnect with themselves

that encourages self-expression. It is

from within.

this trust and openness that we need when being with others of different

After the participants were guided to feel

backgrounds. I also believed this is

a sense of well-being in the first activity,

the key to community building where

they were then asked to communicate

individual’s identity quickly evaporates

the safe space in pairs through bodily

under the pressure of a fast-paced

gestures, which derives from Authentic

lifestyle and changing demographics

Movement. This Authentic Movement

under regeneration processes.

requires participants to be open to the process of moving without thinking

Based on the participants’ responses,

about movements intellectually but

68.2% of people felt that they forged a

rather focusing on their inner feelings

better connection with their classmates

(Johnson, 2007; Bacon, 2010).

through non-verbal communication.

I found that relating back to the idea

The partner who was then witnessing the

of safe space could help people relax.

performative gestures was encouraged

However, I would need to give some

to observe non-critically, creating a space

form of alert or notice that we will be

39

PROBLEM REDEFINED

40

The performative communication workshop made me see the effectiveness of communitybuilding in a group activity that focuses on rewinding.

How might we create an opportunity of interaction between Latin Americans and the new residents in Elephant and Castle, so as to reinforce a strong and tenacious community?

A one-directional form of communication is not effective in forging meaningful and embodied connections between people.

41

SEEKING SOLUTION II

I. CURRENT SOLUTIONS

1. One Elephant The organisation One Elephant seeks to bring communities together through providing a free meal in St John’s Church fortnightly. The group of volunteers started doing this as they observed that after the pandemic, people feel more alone. There is also the cost-ofliving crisis and people may have different issues in life that they want to talk about, be accompanied by others in the neighbourhood.

42

I attended their event on 4 April. It was night-time and I felt a bit nervous as I do not who I will come across. My nervousness eased as soon as I found a lady who is going to the event for the first time on my way there. I initially thought that people participate in this event mainly because of the free meal, but later I learnt that some are interested in community building. I made connections with two others who sit beside me. One of them has been following my event and is interested in helping me find opportunities for my project.

I also interviewed the project leader on the funding and how the project has been going. She mentions an increase in the number of participants after the first event that happened two months ago because they increased the channels of publicity. I began to understand that an event like that only gains tractions after a few trials should not be deemed as unworthy or unsuccessful.

Fig. 32: website of One Elephant.

43

2. Latin Dance Aerobics

From desk research, I discovered Community

Getliving. “At least now that they are trying to

Hub, which used to organise activities and

help,” she said, “after what they have done.”

classes at the community centre in the old

Fig. 33: E&C Community Hub Latin Dance Aerobics Workout, screenshot from Youtube.

shopping centre. After the demolishment of

Latin Americans are very welcoming and they

the shopping centre and post-COVID-19, they

have a range of expressions in the arts. The

released a website in 2020 where they host a

instructor also told me that Latin Americans

range of free virtual sessions such as online

like to have their stories heard. This made me

arts and craft, music and yoga classes. The

want to create a workshop that facilitates self-

Latin Dance Aerobics is a fitness class that runs

expression through the arts. Such a workshop

every Tuesday at the Crossway Christian Church

does not have to force the participants into

in Elephant and Castle after the pandemic.

interactions, but let conversations occur naturally when they are creating their artworks.

I attended the one-hour session for three weeks in a row. I really enjoyed learning Latin dance steps and being immersed in their music and culture. The instructor is from Colombia and speaks very fluent English. She conducts class in a mix of Spanish and English because the majority of the participants are Latin Americans. The instructor told me that they have to pay for the space and are funded by

44

3. SWOT analysis

Strengths:

•

I gained embodied knowledge of Latin cultures by participating in face-to-face events.

Weaknesses:

•

These events do not enforce any form of communication with Latin Americans who only speaks Spanish.

Opportunities:

•

There is no need to communicate with one another in such dance classes.

•

There is a lack of focus on the new residents in Elephant and Castle in these endeavours.

•

It confirms the need for community building in Elephant and Castle.

•

The value of my solution is that it facilitates connection through self-expression and natural conversations between participants.

Threats:

•

High participation numbers may not be observed in the first few events.

•

The event has to be ongoing in order to create a significant impact on society.

45

II. INTERVIEWS WITH BUSINESSES IN E&C’S LATIN CLUSTERS My research deepened through informal conversations and semi-structured interviews held with the shop owners around Ash Avenue, Castle Square, Elephant Road and Maldonado Road where the Latin American community is mainly based at. Because I was unable to identify the ethnicity of the store owner, my interviews included other BAME groups in the area.

I came to know more about the current situations of these traders and their emotions after being displaced from the old shopping centre.

Fig. 34: a sign post leading to Ash Avenue in E&C.

46

A total of four traders were interviewed. Two of

Hence, some traders provided richer data while

the traders came from Latin America. The interview

others provided very little. This is why this interview

process was difficult as the two Latin American

data is presented in a richly descriptive form.

traders could not speak English well, with one of them can’t communicate in English at all. The interviews with the others were equally timeconsuming as the traders are a bit older and difficult to communicate with.

Trader A: Clothing retail, Male, from Pakistan

I entered a clothing store in Castle Square. In it, I found two people (a shop owner and his friend) who later told me they are Pakistanis. When I visited them, they seem to be casually chatting and immediately invited me to join in the conversation. I explained my research rationale to them and asked them for consent if they wanted to participate in this research.

In our conversation, I found that similar to Chinese culture, Pakistanis have a strong attachment to family. Since their children are born and raised in the UK, there is a difference in cultural values between the father and the daughter. They are also feeling more comfortable in the UK and would only go back to Pakistan for vacation. One of them expressed that he likes having conversations with people but it is harder to do it nowadays because people are constantly on their phones.

47

Trader B: Clothing retail, Female, from Nigeria

The lady from Nigeria really likes to watch videos on her phone. Her shop is not busy, and few people come by. Upon seeing me, she did not feel like talking very much, I later found that it is her characteristic to often daydream and not be engaged in conversations.

After seeing that I am interested in her thoughts, she was more curious and happier to share. She told me repetitively that the old shopping centre has been very busy, and that there were a lot of shops around. Her eyes glimmer as she recalls her fond memories. She expressed the difficulty to be found by her old customers after being relocated. “There is nothing we can do,” she said. She is almost reaching retirement age now, but she said she will continue her business as it keeps her going and makes her feel energised.

Hairdresser C: Hair Salon, Male, from Colombia

With Hairdresser C, we conversed using translation tool but we still connected well and had a great conversation through gestures and facial expressions. He told me that he wanted to make new friends outside of the Latino community, but could not do so because of his English. He had learnt English for two years but found it difficult as he is older now. He moved to London for its job opportunities and found it safer here than back in his hometown. His age is close to my father’s, and hearing how much work he has to do as the breadwinner of his family really touched my heart.

48

Trader D: Clothing retail, Male, from Colombia

This gentleman was engrossed in his phone when I approached him. He seemed bored as he did not have any customer that day. I was not sure if he was going to talk to me but he said yes after I told him about my project. He told me that he has a family here but still doesn’t feel a sense of belonging because he prefers the peace and quietness living in a small town instead of in a big city.

He said that he wants to go back to Colombia as he loved everything about the place.

He shared an image of the kindergarten back in his home place with me during the conversation and told me that he wanted his kids to study there but it was too expensive.

I felt resonation with him when he shared that he feels that Elephant and Castle is not very safe, there are often gang fights around the area. He also told me that he goes to English classes every week, to prepare for an exam, but needs to practice speaking it more. Being here for five years already, he felt that Elephant and Castle has gone through

Fig. 35: the interviewee showing me how a private kindergarten looks in Colombia.

a lot of change, and he sees more young people arriving in this area.

After doing the interviews, I realised that the

(Tsing, 2021) resulting in narratives becoming more

common pains of these business owners are that

individualised and needing better differentiation.

they are hidden away from the people in the area

The sense of safety and belonging is also subjective

and have to rely on their businesses to make a

and does not depend on whether they have forged

living. Their common needs are to be more visible

a family in London.

to the public and to understand people from other backgrounds who are arriving in this area so that they can better sustain their businesses. Also, due to globalisation and different migration experiences, their identities are becoming more contaminated

49

SOLUTION: MASS ART MOVEMENT My final solution is titled ‘MASS ART

and attract participants to drop in on the day. It

MOVEMENT’, a workshop-campaign that

was also used for interaction when participants

helps to create an opportunity of interaction

were invited to place a sticker of where they

between the Latin American community and

came from on a hand-drawn map of Elephant

new residents in Elephant and Castle, and to

and Castle on its back.

facilitate self-expression for the diverse cultural identities that exist in the area.

The workshop involves facilitating participants in creating landscape A4 artworks using paper cut-outs. This allows each individual participant to express their perception of ‘safe space’ through a direct engagement with physical materials. This will help them collectively experience feelings of trust and comfort and forge a connection with others who are in the same space.

A sign post was designed and made out of recycled cardboards, to promote the campaign

50

Fig. 36: my sign post showing the name of the workshop-campaign.

I. WORKSHOP DEVELOPMENT To develop the workshop, I experimented with the paper cutout technique developed by Henri Matisse. I then asked the BAME businesses about how they feel towards making landscape ‘drawings with scissors’ to represent their stores and spaces.

However, I realised that most of them did not have the time. Some told me to come back another time while one manager displayed an annoyed attitude towards me and said, “Sorry, but I have

Fig. 37: I tested the technique myself at home from reading Matisse’ book.

to make a living.” Although I believe that it is good to tell their stories, I should not distract or even obstruct them from doing their business.

So, I thought of making the artwork myself for these business spaces. This idea was much more welcomed by the businesses, and I made eight cut-outs in their restaurants and shops. They really like it when I showed my work to them. I also tested the method with one of them who is free to do it, to see how I can simplify the process for people who have less experience in artmaking.

This technique was further tested and developed to create an

Fig. 38: one of the BAME shop spaces represented using paper cut-out.

opportunity of direct engagement between the Latin American community and the new residents through the form of a drop-in workshop that takes place outdoors at Elephant and Castle.

51

II. POSTER I designed two posters for the two iterations of the workshop. The first was hosted at an outdoor space in Elephant Park.

The poster made it welcoming for all and many families with children attended on that day. The workshop was reiterated to target the adults after realising that this would facilitate communication. The reiteration of the workshop for adult participants received support from Judy Aitken, the curator of Southwark Council, who thought that it was a good initiative and provided a space for the workshop to take place.

The posters were printed in A4 size and stuck around in the Latin clusters at Elephant Road, Ash Avenue, Castle Square and Maldonado Walk, after receiving consent from the nearby businesses, as well as in the two new residential buildings 22 Amelia Street and O’Central.

Posters were then removed after the workshop so as to avoid vandalising the area.

Fig. 39-40: posters for the publicity of the two iterations of the workshop.

52

III. LOGO Idea 7 was chosen and developed because it shows the main idea of the project which is about community bonding in Elephant Castle. The name ‘MASS ART MOVEMENT’ conveys the project’s arts-based and creative nature, as well as its focus on campaigning and conveying messages to the public. The colour pink was chosen because of the iconic elephant statue carrying a castle on its back, which was a place marker for the old Elephant and Castle shopping centre, and it is the community that I want to reach out to.

Fig. 41-43: development of the logo design.

53

IV. FEEDBACKS After the workshop, adult participants were

Feedbacks were further obtained from industry

asked to fill up a short questionnaire to assess

experts through conversations and emails to

the effectiveness of the workshop in building

understand what could have been done better.

community and enforcing a collective safe space.

The responses from the questionnaire have shown

Siân Cook, a graphic designer with more than

the following outcomes:

30 years of social design experience, said that “people are starting anew in this area” so my workshop served a good social purpose. She

Outcome of MASS ART MOVEMENT

suggested that I could work with key gatekeepers in the community to tap into existing resources.

Judy Aitken, who has supervised the workshop, responded to me in the email that my workshop fitted well with the aims of ‘Southwark Today’ and could help people connect without social pressure.

It could potentially ease the pressure of those who have a language barrier, which aligns with my goal of reaching Latin Americans who do not speak English well. However, my communications with organisations should start as early as possible to give them plenty of time to prepare and respond.

54

V. SWOT ANALYSIS OF SOLUTION Strengths

Weaknesses

•

•

•

My solution facilitated the unique self-expression of

The workshop has a strong reliance on the artist-facilitator

individuals and increased the visibility of expressions from

to facilitate the process. It needed more helpers than I had

the migrant and ethic identities in E&C.

expected before the event.

As a campaign, it evoked feelings from onlookers, raised

•

Marketing strategies are not tailored enough at the Latin

awareness for its mission and helped people to engage in

American community such that few Latin Americans turned

dialogues and understand different cultural narratives.

up for the workshop.

Opportunities

Threats

•

Proposing the idea to Community Hub such that it

•

Money and time needed to train artists-facilitators.

becomes integrated in a community organisation that

•

The workshop utilises time and slowness to allow people

•

gatekeeps major community events.

to connect their body-mind (Bacon, 2010). People who

Apply for funding from places such as Elephant and Castle

have to make a living may not be able to participate.

Town Centre/ Get Living, National Lottery Project Grants, Arts Council England.

•

The effects of such artistic practices may not be easily measurable. (Johnson, 2007; Stern and Seifert, 2007).

55

BIBLIOGRAPHY Bacon, J. (2010) “The voice of her body: Somatic practices as a basis for creative research methodology,” Journal of Dance and Somatic Practices, 2(1), pp. 63–74. Available at: https://doi. org/10.1386/jdsp.2.1.63_1 (Accessed: 28 Feb 2023).

Chang, H. (2008) Autoethnography as Method. CA: Left Coast Press.

Frayling, C. (1993). ‘Research in Art and Design’, Royal College of Art Research Papers, Volume 1, Number 1. Available at: https://researchonline.rca.ac.uk/384/ (Accessed: 26 Feb 2023).

Goldzweig, S. et al. (2023) Migrant and Ethnic Economies in Times of Crisis: Displacement, Brexit, COVID and Cost of Living. Available at: https://latinelephant.org/migrant-and-ethnic-economiesin-times-of-crisis-new-report/. (Accessed: 3 April 2023) Hammersley, M. and Traianou, A. (2012) Ethics and Educational Research, British Educational Research Association online resource. Available at https://www.bera.ac.uk/publication/ethics-andeducational-research (Accessed: 28 March 2023) Hickman, R. (2008) Research in Art & Design Education. Bristol, UK: Intellect.

Humphrey, S. (2013) Elephant and Castle: a history. Gloucestershire: Amberley.

Johnson, D. H. (2007) ‘The Primacy of Experiential Practices in Body Psychotherapy’, in Marlock, G. et al. (eds) The Handbook of Body Psychotherapy. Stuttgart: Schattauer, pp. 117-125.

Lees, L., Slater, T. and Wyly, E. (2008) Gentrification. Londoan: Routledge.

Lin, F.L.-Y. (2018) “Using Thematic Analysis to Facilitate Meaning-making in Practice-led Art and Design Research,” International Journal of Art & Design Education, 38(1), pp. 153–167. Available at: https://doi.org/10.1111/jade.12177 (Accessed: 20 April 2023).

Matisse, H. et al. (2014) Henri Matisse: Cut-outs: Drawing with scissors. Köln: Taschen.

Resnick, M. (2018) Lifelong kindergarten: cultivating creativity through projects, passion, peers, and play. Cambridge, Massachusetts: The MIT Press.

Román-Velázquez, P. (2022) “Resisting gentrification, reclaiming urban spaces: Latin Urbanisms in London,” Journal of Urbanism: International Research on Placemaking and Urban Sustainability, pp. 1–18. Available at: https://doi.org/10.1080/17549175.2022.2071967 (Accessed: 20 April 2023).

Speck, B. (2008) ‘No, 1 – 242 Ashenden’, in P. Sutherland (ed) Home: The Elephant and Castle. London: London College of Communication, pp. 40-45.

Stern, M. J. and Seifert, S. C. (2007). ‘Culture and Urban Revitalization: A Harvest Document’. Culture and Community Revitalization: A SIAP/Reinvestment Fund Collaboration—2007-2009.

Available at: https://repository.upenn.edu/siap_revitalization/7 (Accessed: 25 April 2023).

Sutherland, P. (2008) Community: The Elephant and Castle. London: London College of Communication.

Sutherland, P. (2008) Home: The Elephant and Castle. London: London College of Communication.

56

Sutherland, P. (2012) Economy: The Elephant and Castle. London: London College of Communication.

Tsing, A.L. (2021) The mushroom at the end of the world: On the possibility of life in capitalist ruins. Princeton, New Jersey: Princeton university press.

Wells, R. (ed.) (2013) The Elephant Magazine, Issue 1, Autumn 2013. Available at: https://www.elephantandcastle.org.uk/wp-content/uploads/2020/02/TEM01Autumn2013.pdf (Accessed: 1 April 2023)

Interview Colombian clothing retailer (2023). ‘Interview with BAME communities in Latin Clusters’. Interview with a Colombian clothing retailer. Interviewed by H. He. Colombian hairdresser (2023). ‘Interview with BAME communities in Latin Clusters’. Interview with a Colombian hairdresser. Interviewed by H. He. Nigerian clothing retailer (2023). ‘Interview with BAME communities in Latin Clusters’. Interview with a Nigerian clothing retailer. Interviewed by H. He. Pakistanis clothing retailer (2023). ‘Interview with BAME communities in Latin Clusters’. Interview with a Pakistanis clothing retailer. Interviewed by H. He. User A. (2023). ‘Interview with new residents’. Interview with User A. Interviewed by H. He. User B. (2023). ‘Interview with new residents’. Interview with User B. Interviewed by H. He. User C. (2023). ‘Interview with new residents’. Interview with User C. Interviewed by H. He. User D. (2023). ‘Interview with new residents’. Interview with User D. Interviewed by H. He.

Expert feedback Aitken, J. (2023) Email to Haiyi He, 19 April.

Cook, S. (2023) Conversation with Haiyi He, 17 April.

Cook, S. (2023) Email to Haiyi He, 19 April.

57

Printed at London College of Communication. © Haiyi He 2023. All rights reserved.