This paper explores the role of the arts in people's coping with (potential) place change at the coast in light of wind energy developments. In doing so, we elaborate on the effects of the arts on people's emotional connections to the landscape; the memories, beliefs, meaning and knowledge they associate with the landscape; and the expression of people's attachments through actions. We draw on 28 walking interviews and three group discussions which were conducted in Pingjum, a village along the Dutch Wadden Sea coast. A key feature in Pingjum's landscape is the Gouden Halsband, a late medieval dike surrounding the village. Recently, the area around Pingjum (including this dike) was designated as a potential location for the construction of a new windfarm. In our study, we found that the arts in Pingjum fuelled people's emotional connection to their (coastal) landscape and the Gouden Halsband, enhanced their knowledge of both and triggered them to reflect on the meanings they assign to them. In addition, the arts enhanced people's awareness and stimulated their assessment of the windfarm plans. The arts framed people's interpretation of the windfarm plans, mainly bringing potential negative impacts on the landscape to their attention. In this way, the arts encouraged action, stimulating both efforts to preserve the Gouden Halsband and protests against the proposed windfarm plans.
The value of ‘the arts’ in community development is increasingly being recognized. This paper contributes to emerging insights on the various impacts of the arts on communities by highlighting when and how they can have binding and dividing effects on a community. We draw on a participatory research project conducted in Pingjum, a village in the Netherlands that hosts many cultural activities and in which many artists live. We discuss how the arts in Pingjum influence the community in the village. In our discussion, we pay attention to the sense of community that the arts generate, the meeting opportunities they provide and how the community is engaged by some artists. Our study shows that the influence of the arts is context-dependent, with the arts having both binding and dividing effects on the community in Pingjum. In terms of the value of the arts for community development, we emphasize three key issues: that the arts (i) do not have only advantages for a community; (ii) do not engage the entire community; and (iii) could potentially contribute to community fragmentation. Given these issues, we argue that the arts should be considered as one of several supportive means in community development processes. Ideally, they are integrated into a wider community development strategy and planning, and exist alongside other associations and activities in a community. In this way, the arts can contribute to the robustness of a community and assist it in developing the capacity and resources to flourish.
This paper explores the roles and practices of collective citizen engagement in spatial planning. Drawing on a selection of core articles in planning scholarship, it investigates how citizens (re-)shape urban places by responding to perceived flaws in how spatial planning addresses societal challenges. Formal planning interventions are often spatially and socially selective, ineffective, or even non-existent due to a lack of institutional capacities and resources. Consequently, citizens take on roles that they consider as missing, underperformed or ineffective. The paper shows that this results in a variety of practices complementary to, independent from, or opposing formal planning actors and interventions. Five dilemmas citizens face are identified, highlighting the tensions that surface on exclusion, participation, and governmental responsibilities when citizens claim their role in urban governance.
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