Abstract
ABSTRACT It is now commonplace to weave arts initiatives into community planning and development efforts. One historical foundation for this practice was the U.S. federal Model Cities programme, which promoted a role for the arts in the demonstration projects it funded. The reasons and purposes for doing so were worked out not by federal officials, but by funded projects on the ground in specific places. This essay tells the story of a federally funded performing arts programme in Seattle – Black Arts/West – and the intellectual landscape its supporters navigated to make a case for art’s role in neighbourhood development. That case was based on a belief that the Black Arts could contribute not only job training and consumer dollars to neighbourhood development, but also a cosmopolitan vision of a welcoming and diverse city. Ironically, even as Black Arts/West helped root the Black Arts in Seattle’s Central Area, it helped establish ways of thinking about the arts and diversity that would contribute to the neighbourhood’s gentrification.
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