For a couple of decades, I have been an “applied
sociologist”, meaning that my sociology leaves the classroom and situates
itself in organizational contexts. There are many ways that applied
sociologists “do sociology”. For the
most part, my work focuses on evaluating a range of programs and policies to
help organizations get stronger and ultimately, bring in more funds so they can
continue to do their good work. Applied sociology may be perceived by some as
the step child of academic sociology. “Professor” is a far more classy title than
Senior Research Associate or even, Wowza Evaluation Research Expert! But academic and applied sociology are
equally good options; the choice to pursue one or the other has more to do with
the job market, as well as one’s career goals and interests. That said, applied sociologists have fewer institutionalized
steps along the career ladder to achieve “success”, and we certainly experience
less institutionalized scrutiny. For
better or worse, applied sociologists also don’t generally have a “family” of
colleagues for life!
A lot of us “applied folks” are happy with our choice. The
work is challenging, and the potential to improve programs and policies that
improve people’s health, education, incomes and more is satisfying. Many of us
also love to teach, but generally when we do, we’re on the lowest rung of the
totem pole as adjuncts, with low wages, no benefits and depending on the
institution, no status, even if one is a stellar teacher whose students adore
you. But unlike adjuncts who are scraping a living together teaching multiple
single courses, we may choose to teach a course, without fully depending on
this income.
This spring, I discovered another way to put my sociology
into action, when I joined with a friend to organize a neighborhood music
festival on porches, called “Jamaica Plain Porchfest”(www.jpporchfest.org).
My type of applied sociology had, for the
most part, been stuck in a room, or on occasion, at an event or rally. But I
felt ready to break out. While I have been evaluating arts-based programs for a
number of years, I found that I could bring my sociological eye to designing
and implementing this participatory arts-based musical event. Luckily, I was partnered with an old and dear
friend who brought the same sensibility and perspective.
Our sociological eyes went into motion from the very
beginning of our planning, as we identified the “outcomes” we wanted to achieve
for this event. We live in a community
that is considered very diverse, in terms of race/ethnicity, class and
sexual/gender orientation. But in reality, the community is very divided. There
is a “Latin Quarter” which houses Cubans, Dominicans, Puerto Ricans and Central
Americans; there are public housing developments that cloister poor people in
large high rises; there are new mixed-income housing developments; there are
sections of “town” that are entirely working class, and others that are
entirely middle class. Our goal was to bring the various strains of the
community together – bridging race/ethnicity and class – using music as the
vehicle.
The phenomenon of “porchfests” is not new. The first one was organized in Ithaca, New
York in 2007, and now there are 20 of them in cities and towns throughout the
U.S., including Tucson, Napa Valley, Boulder, Buffalo (my home town!), Salt
Lake City and in Somerville, Massachusetts, the porchfest that initially
inspired us. From the looks of the incredible photos on each of their porchfest
websites, we can see that they are joyous events that build community. From our
conversations with the Ithaca and Somerville porchfesters, we also know how
successful they are in promoting community bonding, as people come out on the
streets to enjoy music together.
In contrast to some of the neighborhoods where other porchfests
take place, around half of Jamaica Plain’s residents are people of color,
including 25% Latino, 14% African-American, and 4% Asian, and 50% are
white. Our commitment was to promote
bridging and bonding, by pursuing three strategies: include a diverse range of
musicians in terms of their racial/ethnic backgrounds as well as their musical genres;
locate and include porches throughout the neighborhood where musicians can play;
and engage and bring out diverse audiences.
We hoped that these strategies would help to overcome some of the
“tri-furcation” or “quadri-furcation” (!) in the ‘hood.
Initially, we created a Facebook page with a call for
musicians and porch hosts. But a lot of
people don’t go on Facebook, including 27% of online adults who don’t use
social media, and another group of people defined as Facebook “resisters”.
So we reached out to local non-profit
organizations, some of whom serve youth, others who manage low-income housing, others
who coordinate small business activity, and yet others who run programs around
maintaining a beautiful, large park in one of the neighborhood’s low-income
neighborhoods. We also reached out to
students at a highly renowned local music college. We even “scouted” musicians,
sometimes at a local park or other venue, as well as musicians we just heard of
through friends.
My organizing partner and I started with the idea that we’d
do a “pilot” event, with three bands and three porches. But if were to stay
true to our goals, we needed to do more than that. Ultimately, we had 60 bands
sign up, and enough porches committed so that two bands could play on each
porch. We spent hours poring over the mix of bands and porch hosts we would
match, focusing on bringing together a mix of people from diverse backgrounds,
by race/ethnicity, gender, and where possible, class. In the end, diverse bands
and solo musicians shared a stage – aka porch – hosted by a third party who
generously offered her/his porch.
We had been informed that one of the other porchfests almost
got shut down one year because there were crowds of people roaming the streets,
obstructing traffic and trashing neighbor’s lawns. So we created a tiered
structure, in which each porch had a “Porch Fun Manager”, each cluster of
porches in a particular part of neighborhood had a “Cluster Manager”, and the
overall event had two “Network Managers” (me and my partner), who kept an eye
on the whole picture. Organizational sociology in action…
While the two of us organized this event, we realized that
we were operating within the construct of social institutions that needed
to be privy to our plans, offer advice, and inform us of any limitations. So we
met with officials from the City, from the police, and from a neighborhood
services department that does city permitting.
(We were committed to NOT have permits for each porch! We didn’t have the budget and we didn’t want
to deal with the bureaucracy.)
And did I mention that we had NO budget whatsoever? This was one of the appeals of the event.
Nothing commercial. No “brought to you by”, banners, logos or even food
trucks! We received a few in-kind
donations: one from a friend, another
from the City of Boston which paid for printing colorful maps of the porch
routes to be used on the day of the event, and another from a printer who didn’t
charge us for printing postcards to announce the event. For many people, the
fact that JP Porchfest was commercial-free was a breath of fresh air.
So how did it go? On
the day of the event, we had 7,000-8,000 people roaming throughout the
neighborhood listening to music, and hundreds showed up at a local restaurant,
Bella Luna Restaurant and Milky Way Café, for an after-party which served $5
all-you-can-eat pizza! Anecdotally, it
seemed that everyone loved the event from the audience to the musicians to the
porch hosts.
But a good “action sociologist” can’t just leave it there! We needed to evaluate the impact of the
event. In order to count the numbers in
attendance, we used porchfest stickers, and had intended to count the leftovers
to gauge the size of the crowd, except we ran out of stickers in one hour! We consulted an audience researcher on how to
calculate the final numbers, and it’s her figures – 7,000-8,000 – that we are
citing.
We also distributed very short surveys with a few questions
that would help us learn what worked and what didn’t work, as well as to
identify the demographics of porchfesters.
Nearly 100% reported that the event
was excellent or very good (we’re still working on analyzing this data). In addition, we had two sociology grad
students from Brandeis University (my alma mater) traversing the event and
interviewing participants about their experience.
And we queried musicians and
porch hosts to provide more detailed feedback on their experiences performing
at JP Porchfest, and learned that they made great connections with the other
band with whom they shared their porch as well as with their porch hosts. They were pleased that they were able to add people to their mailing lists
and increased their CD sales. We also heard that small businesses had increased
sales. One of our colleagues and friends from Hyde Square Task Force, a JP youth leadership organization, conducted her
own short survey to see if business picked up in the “Latin Quarter”, and
interestingly, small shops like the local beauty shop and local rotisserie
chicken take-out place increased their business by anywhere from 100-400%!
Finally, we wanted to document the event, creating a team of
professional filmmakers who shot the event and will produce two videos. One is a documentary about JP Porchfest that
centers on three narratives: a long-time
Latina political activist who had just moved into affordable housing and wanted
to use porchfest as a way to unite her racially divided neighborhood; a veteran
rocker musician who writes songs about JP and is a staple in the ‘hood; and a
group of youth leaders from a local non-profit organization who were
accompanied by two filmmakers who documented their response to the event and
the different types of music. The other
is a 5-minute how-to video, which will be accompanied by a training guide that
we write, in order to help other communities produce their own porchfests!
My organizing partner and I were initially worried that no
one would show up, and then after the event, we worried that we would experience
a post-event malaise. But we have been
disproven twice! We are now planning JP
Porchfest 2015, this time knowing a lot more than what we knew before we
started. Soon we’re going to launch a Kickstarter campaign, and Bella
Luna/Milky Way has offered us their venue for two fundraisers.
In the end, we determined that we had done a pretty good job,
maybe even a really good job! While
roughly one-third of our musicians were people of color, we want to increase
the diversity of the audience, and we are developing a strategy to do so.
In a follow-up conversation I had with Ayanna
Pressley, a brilliant African-American City Councilor who spoke at the event, I
lamented that the audience wasn’t as diverse as we wanted it to be, and she
told me, “you are acting like a woman!”
I was startled. What did she
mean? She told me that the event was a
great success, but I was focusing on the negative. “We’ll work on that for next
year”, she reassured me.
Photos/Video:
1. Woman doing limbo at Nate Smith House, affordable housing for elders. Band was Tempo International Rhythm Section.
2. Sterling Rhyne performing at home of Betsaida Gutierrez, housing activist. Photo credit: Sam Sacks.
3. JP Porchfest banner, created by Hyde Square Task Force Youth Leaders
4. Damn Tall Buildings. Photo credit: Damn Tall Buildings (selfie!)
5. The Amy Hoffman. Photo credit: Jane Akiba
6. Guts and Buttons. Photo credit: Sue Dorfman
7. Cornell Coley and Hyde Square Task Force. Photo credit: Jane Akiba
8. Filmmakers planning Porchfest videos
9. Son of Chris Antonowich, Riding Shot Gun. Photo credit: Sue Dorfman
10. Video, Rick Berlin and Nickel and Dime Band: "I Love My Street"