For this experiment – my previous research question did not completely address new lines of research I was investigating.  I had to review the questions and make an alternative question. I focused on a new question to get more specific with who, what and where . . .

-In what ways can artists enhance or engage with existing touristic spaces (viewpoints) to transform these public spaces into ritualistic places where new myths and realities can be told, shared, and developed?

I expect this artist group to meet, share and enjoy this alternative connective experience together. I imagine it will be a bit awkward (if only just for me as an organizer) because there are not many (if any) meetings like this on the island and it will be working in an unaccustomed way from usual art practices here – which is usually defined by being 'commercial' and working independently or with a 'group' or 'scene'. As leader, I am expecting to be a bit disorganized, forget something important or be more soft-spoken than I normally might be but after some practice and trial and error – I hope that I can repeat this experiment with more precision, confidence, and ease. 

Step 2: Form a creative group aimed at sharing artistic work, giving feedback, and working collaboratively on future projects. The group does not need to be too large to start. At least 10 different creators from various practices to make sure some people can come to story shares. The number can grow and commitment is not mandatory and members can stay engaged however they can manage.

Step 3: Designate a time and place to meet together. The meetings will last 1.5 - 2 hours (unless people do want to stay longer.) and consist of a check-in portion where people can just chat and get to know each other, a sharing portion, and a discussion portion. Depending on the amount of attendees, these times will mostly be divided evenly but more time might be needed for sharing and discussion. The meeting date/time will be determined by the group members' availability and will most likely happen in the evenings or weekends because more people are 'free' at those times. For this first experiment, we determined that Friday evening at about 6 PM was the best time for most of the group. The group was given a few places for meeting – public/semi-public places that are easy for everyone to access. The group settled on Khao Rang Viewpoint for its variety of meeting spaces, centralized location, and overall beautiful setting.

Step 4:  Share Question #1 from Questions/Prompts list for the group to create responses in advance.

Step 5: Meet at a designated time and place to share responses or other work that the group would like an active audience to experience. Ask the group if recording or documenting is okay. Bring recording material, writing material, notecards and questions on notecards (as a visual for group members to reference)

Step 6:  Actively engage (listen/participate) in each other's work.

Step 7:  Discuss each other's work and respond to questions in a positive and constructive way.

Step 8: Discuss future prompts. And/or discuss how to establish a storytelling ritual.

 Step 9: Designate the next time and place for a future meeting. Returning to the same space or venturing to another? Why?

Step 10: Hugs and goodbyes and off to create again. Together or apart – how ever it works best.

Realistic Agenda – “as real as can be”

First week: Steps 1-4. Allow time for people to join a group chat and respond to the first prompt. I need to prepare a list of prompts and questions for the group!

Second week: Step 4 (if not yet completed) Designate a time and place for the group story share within the next week!

Third week: Steps 5 – 10. Meet! As the organizer I need to arrive early to make sure people have a recognizable 'person of contact' and so I have time to set up recording equipment.

Following week: Reconfirm or repeat Step 9 to make sure the story share can become a group ritual. 

This experiment will be gathering a group of artistically inclined people living in Phuket to see what kind of story sharing will take place and/or what group projects or ideas the group would like to develop. This intention was greatly informed by the project: Creative Practices and Public Engagement by Daša Spasojevic and Ana Souto Galvan and how they use various storytelling methods to engage with community and have the public perform conceptually to co-create an identity of their neighborhood. Developing, for Phuket, ‘A participatory methods’ toolkit’ ... demonstrating the potential role that creative practices can have in bridging the gap between ... social and political conditions in which places really matter for people. This should lead further to meaningful ways of improving places and communities in which we live” (Creative Practices and Public Engagement by Daša Spasojevic and Ana Souto Galvan) I am taking many notes from their methods one for example: starting with a small local group first. I will start with a group of local artists that have some stake in an arts community in Phuket, or wish to connect, share work or experiment with other modes of engagement. This type of experiment can be redone or repeated, with the same group or other groups such as youth groups, tourists, local community members, community officials, unintended/unexpected participants, to continue to encounter how this method can best serve those different communities.