Abstract
Recently art is increasing its presence as an “creative industry” to sustain local communities, by generating socio-economic values. Still, whether art can be a tool for social innovation to regenerate communities, especially in rural areas in aging societies, is an unanswered question. In this paper, we take the example of Benesse Art Site Naoshima and Art Setouchi in the island area of Western Japan, viewing how it transformed from a corporate-established museum to a regional initiative involving various stakeholders, including local residents and thus creating the process of dialogues and collaboration. By reconstructing the existing evidence with supplementary fieldwork and interviews and applying a tri-sectoral analysis of the processes, we present how the art sites developed to become a social innovation. We then illustrate the role of two key individuals, Soichiro Fukutake and Fram Kitagawa, and shed light on the different values and methodologies they brought into these art sites. We argue that such contributions from the civil society and philanthropy sector made a critical contribution to characterize BASN and Art Setouchi, in addition to the well-documented and recognized efforts from local government and business sectors. Finally, we propose that such values, methodologies, and persons who can embody and implement such values are crucial if other countries and areas are to replicate the model.
Highlights
Social Innovation and ArtA sustainable community is built upon different pillars, such as environmental, societal, and economic aspects
In this paper we propose a model from the case of Benesse Art Site Naoshima (BASN) and Art Setouchi
We examine whether BASN/Art Setouchi as social innovation had an economic effect and improved the well-being of the community, and provided social cohesion alongside the value and perception of the society
Summary
A sustainable community is built upon different pillars, such as environmental, societal, and economic aspects. In cases from Italy (Milan), France (Paris), and Spain (Lugo), a policy opportunity was created by a city or municipal government with support from the central government, EU programs, grant-making foundations among others This allowed civil society organizations and social enterprises to take the lead and form different patterns of partnerships between local public administration, private for-profit organizations, artists, and local communities including vulnerable groups, such as immigrants and people with disabilities. Franklin investigates how the cultural tourism at Bilbao, Spain was developed by the external resource (Guggenheim Museum Bilbao) and local stakeholders (Bilbao and Basque Country region) [24] They present the promising potential of art tourism as the tool for local regeneration in both developed (post-industrial) and developing country contexts. The greater part of the existing studies is based on analyses of urban areas in European or Anglosphere countries, not much from rural areas and/or non-European countries, including Asia
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