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Reflecting on (Social) Creativity, Approaching Real Utopias in Lisbon

AAG Annual Meeting New York February 24-28, 2012. Reflecting on (Social) Creativity, Approaching Real Utopias in Lisbon. Soraia Silva, CEG, IGOT – UL Ana Estevens , CEG, IGOT – UL André Carmo , CEG, IGOT – UL Isabel André, CEG, IGOT – UL Mário Vale, CEG, IGOT - UL. Project RUcaS

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Reflecting on (Social) Creativity, Approaching Real Utopias in Lisbon

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  1. AAG Annual Meeting New York February 24-28, 2012 Reflecting on (Social) Creativity, Approaching Real Utopias in Lisbon Soraia Silva, CEG, IGOT – UL Ana Estevens, CEG, IGOT – UL André Carmo, CEG, IGOT – UL Isabel André, CEG, IGOT – UL Mário Vale, CEG, IGOT - UL Project RUcaS (FCT-PTDC/CS-GEO/115603/2009)

  2. Agenda • Intro • The study • Key concepts • Lessons from the case studies • Further questions

  3. 1. Intro Study: UrbanCreativity in theRegionofLisbon (2010-2012) (orderedbythe CCDR-LVT: Coordinationand Regional DevelopmentCommissionofLisbonand Tagus ValleyRegion) Research projectRUcaS: Real Utopias in Socially Creative Places (2011 - )

  4. 2. The study WP1 - Conceptsandperspectivesonurbancreativity (Surveypaper) ExtensiveAnalysis WP2 - Benchmarking WP3 – Urbancreativityanalysis – profilesanddynamicsofthecreative sector Case studies WP4A Creative Places WP4B Cultural events WP4C Organizations WP5 – Policyrecommendations

  5. 3. Keyconcepts Sociallycreativeplaces as a conditionand a resultofcreativity Diversityandpluralism Toleranceandacceptance Collectivelearningandcriticalthought

  6. 3. Keyconcepts Social innovation “satisfationofalienatedhumanneedsthroughthetransformationof social relations” (Moulaert, 2009) Responds to social exclusion Is pathdependentand contextual Has a verymarked territorial expression

  7. 3. Keyconcepts Social creativity Social recognition (andtransformation) Social innovation Threats Risks Challenges Opport. Diversity Tolerance Collectivelearningandcriticalthought Participation Collective memories Leadership

  8. 3. Keyconcepts The role ofthearts in social creativity Pedagogy Identity Social development Citizenship

  9. 3. Keyconcepts The role ofthearts in social innovation Powerofcommunication Appropriation (empowerment) Contestationandresistance

  10. 3. Keyconcepts Social creativity Social recognition (andtransformation) Social innovation Threats Risks Challenges Opport. Instrume ntal Arts Strategic

  11. 3. Keyconcepts Achievable utopias (Friedman, 2000) Are bornfrom a collectiveinsatisfaction; Appearafter a solution/technique to theinsatisfactionisalreadyknown; Are ‘achievable’ ifthereis a collectiveconsent (to theapplicationofthesolution)

  12. 3. Keyconcepts Achievable utopias (Friedman, 2000) Theexistenceof a criticalgroup (limits to communitydimension) Communicationandaccess to info are crucial elements To priorize thecollectiveover individual isworsethanhighlightingtheimportanceofeach individual to thecollective There are no universal utopias

  13. 3. Keyconcepts Real Utopias Resultfrom a processof social innovation Theprocessitselfisthetechniquenecessary to promote a real utopia Are contextual andmostlywith a territorial expression Tend to beegalitarians as organizations (criticalgroup), butadmitmultiplelayersofgovernance

  14. 3. Keyconcepts Social creativity Social recognition (andtransformation) Social innovation Threats Risks Challenges Opport. Instrume ntal Arts Contextual and territorial Strategic Layers of governance Public policies Real Utopias Othe r real utopias

  15. 4. Lessonsfromthe case studies

  16. 4. Lessonsfromthe case studies Cultural events Visibility Associativism / Leadership Publicsupport Promotionofcriticalthought Sociallycreativemilieux DocLisboa Amadora BD Festival de Almada

  17. 4. Lessonsfromthe case studies Organizations Pathdependency Leadership Public policies Arts: pedagogy, citizenship, identityand social development Appropriation Social Innovation TocáRufar Orquestra Geração Teatro do Oprimido

  18. 4. Lessonsfromthe case studies Creative Places Associativism Solidarity Collectivelearning Collective memories A real utopia! Cova do Vapor

  19. 4. Lessonsfromthe case studies Creative Places Self – esteem Collectivelearning Rebuildingidentities Social innovation Mouraria

  20. 4. Lessonsfromthe case studies Creative Places Creative milieux Collectivelearning Networking Controledenvironment Rebuildingidentities Hardly a processof social innovation LXFactory

  21. 4. Lessonsfromthe case studies Creative Places (Municipal) Leadership Collectivelearning Collective memories / heritage Self – esteem Itmaybeseen as a paternalist utopia Óbidos

  22. 5. Furtherquestions • Do/willpublic policies support social andartisticinitiatives self-acknowledged as innovativebutnotrecognized as suchbythe ‘whole’ society? • To whatextentthesucessof social innovationinitiatives (real utopias?) maydidactetheirownend? • Ifinnovationinitiativeslargelydependonpublicfinancing, how can weensure ‘criticalthoughtindependency’ in a contextofaustheritybased in neoliberal policies and social contestingcontrol? • What can welearnfromthefailure cases?

  23. References • André, I., Abreu, A., 2006, Dimensões e espaços da inovação social,Finisterra, XLI (81), 121-141 • André, I., Malheiros, J., Carmo, A., Lerythmedesartsdans la ville (socialementcréative), Presentation, Montreal, UQÀM, April 2011 • André, I., Abreu, A., Carmo, A., forthcoming, Social Innovationthroughthearts in rural areas: the case of Montemor-o-Novo • Friedman, Y., 2000, UtopiesRéalisables, LesCoiffards, Éditions de l’éclat • Gertler, M., 2004, Creative Cities: What Are They For, How Do TheyWork, andHow Do WeBuildThem?, Ottawa, CanadianPolicy Research Network • Moulaert, F., Social Innovationandcommunitydevelopment – Conceps, theoriesandchallenges, in Moulaert, F., Maccallum, D., Hillier, J., Vicari, S. (eds), 2009, Social Innovationand Territorial Development, Farnham, Ashgate • Musterd, S., Murie, A. (eds), 2010, Makingcompetitivecities, West Sussex, Blackwell

  24. Thankyou for yourattention! soraiasilva@campus.ul.pt

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