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>> PLEASE TAKE A MOMENT TO RESPOND TO THE QUESTIONS.
IF YOU LOOK AT THE RIGHT SIDE OF YOUR SCREEN, YOU SHOULD
SEE SEVERAL BOXES LABELED PARTICIPANTS, CHATS, Q & A,
AND POLLING. THE PART PANT SECTION
INCLUDES A LIST OF PANELISTS THAT WILL BE SPEAKING TODAY.
PLEASE USE THE CHAT FUNCTION TO REPORT ANY TECHNICAL
DIFFERENT THAT YOU ENCOUNTER DURING THE WEBINAR AND WE
WILL DO OUR BEST TO RESOLVE THEM.
THE CHECK BOX IS A Q & A BOX. PLEASE USE THE FUNCTION TO
SUBMIT QUESTIONS IN REAL TIME.
I ENCOURAGE YOU NOT TO WAIT UNTIL THE Q & A SECTION OF
THE WEBINAR TO SUBMIT QUESTIONS.
OUR GOAL IS TO GET YOU AS MUCH INFORMS AS POSSIBLE ON
THIS ISSUE. WE WILL BE CIRCULATING ALL
THE SUBMITTED QUESTIONS ANSWERED DURING THIS WEBINAR
AND THEN POSTING THEM TO CHOICE NEIGHBORHOODS
TECHNICAL ASSISTANCE WEBSITE, THAT WAY WE MAKE SURE YOU GET
THE INFORMATION YOU NEED. FINALLY, COMPLETE THE
PARTICIPANT SATISFACTION SURVEY THAT WILL BE POPPING 2
UP ON THIS WEBINAR, WE WANT TO RESPOND AND PROVIDE
SUPPORT TO GRANTEES DO THIS WORK.
IT ALLOWS US TO BETTER UNDERSTAND THE TECHICAL
ASSISTANCE NEEDS AND BEST WAY TO GET YOU THE RESOURCES AND
INFORMATION YOU NEED TO PLEASE COMPLETE THE SURVEY.
THIS GIVES YOU AN IDEA OF WHAT WE WILL BE DISCUSSING.
CHOICE NEIGHBORHOODS DIRECTOR MINDY TURBALL AND ELSON NASH
WILL GIVE OPENING REMARKS ON HOW THE ARC PLAYS A UNIQUE
ROLE IN THE REVITALIZATION EFFORT, THEN THE ENDOWMENT
FROM THE ARTLESS SPEAK ABOUT THE DIFFERENT WAYS TO SUPPORT
THE EFFORT. NEXT, GLORIA JACKSON,
NATIONAL COUNCIL ON THE ARTS, WILL SPEAK ABOUT THE CONCEPT
OF CULTURE, CULTURAL DETERMINATION AND
PARTICIPATION IN A WAY THAT ARTS FILLS THIS GOAL, THEN
BETTER PRENKA, A NONPROFIT ARTS ORGANIZATION BASED IN
PROVIDENCE, RHODE ISLAND. HE WILL GIVE US AN IDEA OF
HOW ORGANIZATIONS ON THE GROUND ARE IMPLEMENTING THIS
WORK. AFTER THE PRESENTATION, WE
WILL HOLD A Q & A SESSION AND ADDRESS QUESTIONS AS TIME
ALLOWS. FINALLY, WE WILL CONCLUDE
WITH FINALLY SUMMARY AND REMARKS ON THE ISSUE.
BEFORE I PASS THIS TO MINDY I JUST WANT TO SHARE THE POLL
RESULTS. IT LOOKS LIKE ABOUT
35 PERCENT OF THE PARTICIPANTS ARE CHOICE
NEIGHBORHOODS GRANTEES AND MOST OF THE PARTICIPANTS ARE 3
UNFAMILIAR WITH THE NEA OUR TOWN PROGRAM.
WITH THAT, I WILL GO AHEAD AND PASS THE FLOOR TO MINDY
TURBALL. >> GOOD AFTERNOON.
CAN EVERYONE HEAR ME, I HOPE? I'M ON MUTE.
OKAY. GOOD.
OKAY. ANYWAY, GOOD AFTERNOON.
I WANT TO WELCOME EVERYONE TO THE -- I BELIEVE IT'S OUR
THIRD CHOICE WEBINAR AND WE WILL BE CONTINUING TO HAVE
WEBINARS THROUGHOUT THE COMING YEAR, AND I WOULD LIKE
-- I VERY MUCH THANK MY FELLOW PANELISTS FOR HELPING
PUT THIS TOGETHER, AND OUR TEAM OVER HERE AT CHOICE.
WE ARE PROUD TO HAVE A BROAD SPECTRUM OF CHOICE
REPRESENTATIVES IN THE AUDIENCE, AS WELL AS
PARTICIPANTS, AND IN PARTICULAR I WANT TO WELCOME
OUR PROMISE PARTNERS. WE FELT IT WAS REALLY
IMPORTANT SINCE WE WORK WITH MANY OF THE SAME ISSUES
AROUND LARGE SCALE NEIGHBORHOOD REVITALIZATION
THAT YOU SHOULD BE PARTICIPATE AND BENEFIT FROM
THE EXPERIENCE WE ARE PULLING TOGETHER HERE.
AS MANY OF YOU KNOW, THE CHOICE NEIGHBORHOODS IS PART
OF A LARGER OBAMA ADMINISTRATION EFFORT TO
BRING TOGETHER PLACE-BASED ACTIVITIES THROUGH THE
NEIGHBORHOOD REVITALIZATION INITIATIVE AND NOW INTO THE
FUTURE WITH PROMISE ZONES. AND AS THE NEIGHBORHOOD
REVITALIZATION INITIATIVE IS A PARTNERSHIP WITH THE 4
DEPARTMENT OF HUD, THE DEPARTMENT OF EDUCATION,
DEPARTMENT OF JUSTICE, TREASURY, I HAVE TAKEN A
PERSONAL INTEREST IN DRAGGING THE NEA INTO THIS PARTNERSHIP
WHICH DAN WILL SHARE WITH YOU.
AND SO RATHER THAN TALKING ABOUT -- TOO MUCH ABOUT THE
CHOICE NEIGHBORHOOD PROGRAM, BECAUSE MOST OF YOU KNOW
ABOUT IT, I JUST WANT TO LET YOU KNOW THAT, YOU KNOW, THE
IDEA THAT IS COMPREHENSIVE, NEIGHBORHOOD STRATEGIES THAT
INCLUDE HOUSING, PEOPLE AND NEIGHBORHOODS.
AND WE HAD 47 PLANNING GRANTEES.
WE'VE GRADUATED A FEW BUT NOT ALL OF THEM.
WE HAVE NINE NEW ONES WE'VE JUST ANNOUNCED AND NINE
IMPLEMENTATION GRANTS, AND WE WILL BE ANNOUNCING THREE TO
FOUR IN LATE SPRING FOR OUR NEW ROUND.
BUT AS TO WHY WE HAVE THE NEA AS PART OF OUR PARTNERSHIP ON
THIS CALL IS THAT THE FIRST NRI MEETING I EVER WENT TO,
DAN WAS THERE, AND BECAUSE I HAVE A PERSONAL PASSION IN
THE ARTS AS A WAY TO REVITALIZE NEIGHBORHOODS, WE
STARTED A LITTLE KUBALL AND DAN THEN SPOKE AT OUR
PLANNING CONFERENCE IN JUNE, AND -- OR ONE OF OUR
CONFERENCES, AND WE HAD QUITE A BIT OF INTEREST IN
CONTINUING THE TOPIC OF THE ARTS.
SO WE ARE CONTINUING ON THIS EFFORT.
DAN GOT ME INVITED TO AN ACTIVITY EVENT, PLACE MAKING,
WHERE I MET MARIA, AND WE ARE ALL TRYING TO BRING ARTS MORE 5
INTO THE NEIGHBORHOOD REVITALIZATION ARENA.
AND MY OWN STORY ABOUT THIS, WHY I DO THIS, IS ONE, I AM A
PART-TIME ARTIST, BUT TWO, AND MOST IMPORTANT, IS I AM A
HUGE FAN OF THE WORKS PROGRESS ADMINISTRATION,
OTHERWISE KNOWN AS THE WPA. WHICH BUILT A LOT OF PUBLIC
HOUSING BEFORE THERE WAS A PUBLIC HOUSING AUTHORITY
SYSTEM. AND IF YOU LOOK AT THIS
SLIDE, THE CURRENT SLIDE, YOU WILL SEE WHAT ARTS -- WHEN
ARTS WERE INCORPORATED INTO PUBLIC HOUSING AS PART OF OUR
STRATEGY. WHETHER OR NOT YOU LIKE THE
DESIGN OF THE HOUSING, WHICH WE MAY NOW CONSIDER OBSOLETE
AND NOT PERFECT, YOU WILL SEE THAT LIKE IN THE TOP ONE,
THIS IS LATHROP HOMES IN CHICAGO, AND IT IS A SERIES
OF BEAUTIFUL 1930S-STYLE SCULPTURES WITH FOUNTAINING
RUNNING THROUGH THEM FOR KIDS TO PLAY IN.
THERE ARE THESE KINDS OF DESIGN IN A VARIETY OF OLDER
PUBLIC HOUSING IN CHICAGO AND BALTIMORE, IN CLEVELAND,
PITTSBURGH, IN MANY PLACES. THE DESIGN -- AND SO THEY
WERE MADE FOR OPEN SPACES, BUT TO GIVE A SENSE OF PLACE
TO A COMMUNITY, A SENSE OF GATHERING AND MAKE PEOPLE
IDENTIFY WITH A COMMUNITY. THE LOWER ONE WAS A 1939, AS
YOU CAN SEE, A MAGNIFICENT MURAL ON A DEVELOPMENT IN
CLEVELAND, THAT'S BEEN REDEVELOPED.
THE MURAL HAS BEEN SAVED. THAT IS HONORING WORKERS IN
THE STEEL INDUSTRY AND THE INDUSTRIAL HISTORY OF 6
CLEVELAND, BUT ALSO THEN THE MURAL IS ACTUALLY A MAP OF
THE SITE, AND IT'S A MOSAIC TILE MURAL.
SO I JUST WANT TO SAY THIS ISN'T THE FIRST TIME PEOPLE
HAVE DONE THIS. IT'S JUST SOMETHING WE'VE
FORGOTTEN ABOUT HOW TO DO. AS TO WHY WE THINK THIS IS A
GOOD PLACE FOR CHOICE, IN CHOICE, WE THINK THAT OUR
NEIGHBORHOOD, OUR STRATEGIES ABOUT PEOPLE, NEIGHBORHOOD
AND HOUSING, AND AS YOU CAN SEE ON THE SLIDES, WE THINK
THAT IT'S A GREAT WAY TO IDENTIFY AND CULTIVATE
EMERGING AND EXISTING TALENT. IN NEW ORLEANS, FOR EXAMPLE,
THE GRANTEE, THE IMPLEMENTATION GRANTEE IS
WORKING WITH A LOCAL ARTIST WHO DESIGNED A LOT OF THE
EARLY GRAPHICS AND IS NOW WORKING FOR THE DESIGN FIRM,
BUT HE SET THE LOGO AND IDENTITY OF THE WHOLE
REDEVELOPMENT IN VIVERVILLE. WE KNOW THAT ARTS ARE A GREAT
TOOL FOR COMMUNITY ENGAGEMENT.
YOU CAN BRING PEOPLE TOGETHER AROUND ART, NEIGHBORHOODS, ET
CETERA, AND I THINK IT'S A GREAT WAY TO DO YOUTH
PROGRAMMING AND I'M HOPING YOU WILL CONSIDER THAT.
IT'S HARD TO GET KIDS INVOLVED BUT WHEN THERE ARE
ARTS, IT USUALLY WORKS BETTER.
IN TERMS OF NEIGHBORHOOD, IT REALLY, THIS IDEA OF PLACE
MAKING, WHICH IS REALLY A NEW BUZZWORD BUT SOMETHING THAT'S
BEEN GOING ON FOR DECADES, AS YOU CAN SEE BY THE PICTURES
ON THE RIGHT, IT'S A GREAT WAY TO CELEBRATE A 7
NEIGHBORHOOD'S CULTURE, ITS HISTORY, THROUGH MURALS,
OTHER KINDS OF ARTS, AND REALLY CHANGE THE PERSPECTIVE
OF AN IMAGE OF THE NEIGHBORHOOD OR TO HONOR IT,
TO HAVE OTHERS SEE THAT THIS NEIGHBORHOOD HAS A STRONG
IDENTITY. AND THEN, OF COURSE, YOU
KNOW, FOR HOUSING, A NUMBER OF STRONG NEIGHBORHOOD
REVITALIZATION EFFORTS, WHETHER CHOICE OR NOT, USE
ARTIST HOUSING, OFTEN SUBSIDIZED, BECAUSE ARTISTS
DON'T MAKE VERY MUCH MONEY, EXCEPT FOR A HANDFUL.
AS LIVE-WORK SPACES. AGAIN, IN THE DESIGN ELEMENT
THE, WHICH IS THE MURALS AND THINGS THAT WILL, AGAIN, TIE
BACK TO PLACE MAKING, BUT DIRECTLY INTO HOUSING.
EXTERIOR, PERHAPS INTERIOR. SO I WANT TO GIVE YOU A VERY
QUICK -- OOPS, I GOT TO FLIP MY SLIDE, SORRY --
DESCRIPTION AND I THINK JODY CAN ADD TO THIS, OR AS WE
FINISH, THE DEVELOPMENT, THE ROCKFORD -- JUST BRIEFLY, TWO
OF THE CHOICE GRANTEES, ONE IN ROCKFORD AND WE'LL GET TO
THE OTHER ONE, AS PART OF THEIR PLANNING, HAVE DONE A
GREAT DEAL OF WORK AROUND ARTS, AND THEY ARE USING
THEIR TRANSFORMATION PLAN TO CHANGE THE IMAGE OF THE
NEIGHBORHOOD, AND I THINK VERY INTERESTINGLY FOR AN
INCUBATOR FOR THE ART THAT IS WILL ATTRACT NEW PEOPLE TO
DOING ARTWORK IN THE NEIGHBORHOOD, LIVING THERE,
AND CREATING ART. BUT I THINK THE MOST
IMPORTANT THING, WHICH IS REALLY, REALLY AN INTERESTING 8
PILOT, IS TO TRAIN FOLKS, EXISTING ARTISTS, AND PEOPLE
TO BECOME ARTISTS AND CRAFTSPEOPLE, TO LEARN HOW TO
SELL THEIR ART AND WORK ON ETSY, SO THEY HAVE A WHOLE
ENTREPRENEURSHIP PROGRAM AROUND ETSY, WHICH IF YOU
WOULD LIKE MORE INFORMATION ON IT WE CAN GET IT TO YOU
THROUGH JODY AT THE ROCKFORD HOUSING AUTHORITY OR WE WILL
FIGURE OUT SOME KIND OF COLLABORATION ON THAT.
AND THEN I WILL LET YOU -- SO THESE ARE SOME OF THE
ACTIVITIES. I'M RUNNING OVER MY FIVE
MINUTES, I'M SURE. SO IMPLEMENTING THE CREATIVE
ESSENCE AND TREASURES, HUNT AND DEVELOPMENT PROJECT,
WHICH IS TRYING TO ACCESS MORE ADDITIONAL FUNDING FROM
THE ROCKFORD ARTS COUNCIL AND WORKING WITH TEACHERS,
CREATING BUSINESS MENTORING PROGRAMS, DEVELOPING A MICRO
LENDING PROGRAM. AGAIN, ABOUT CREATING ARTS AS
AN ECONOMIC SELF-SUFFICIENCY ACTIVITY.
AS TO OUR FRIENDS IN OPALACA, THE OPALACA CDC, WHICH IS
ALSO A CHOICE GRANTEE, HAS A HISTORIC NEIGHBORHOOD, AND
THIS IS NOT REALLY PART OF THEIR CHOICE GRANT, BUT THEY
ARE DOING EXTRAORDINARY WORK AROUND THE ARTS AND HAVE
GOTTEN ENDOWMENT FROM THE ARTS FUNDING, AS WELL AS I
BELIEVE SOME OTHER FOUNDATION SUPPORT, TO RECREATE THE ALI
BABA CORRIDOR. DON'T LAUGH AT THE NAME.
TURNS OUT THEY HAVE THE LARGEST COLLECTION OF MOORISH
BUILDINGS IN THE UNITED STATES IN OPALACA, AND THEY 9
ARE DESIGNING REALLY A PLACE MAKING STRATEGY WHERE THEY
WILL BE PUTTING ALONG A 2.2-MILE CORRIDOR,
LANDSCAPING AND SCULPTURES AND PARKS AND THINGS THAT
REALLY HONOR THE HISTORY OF THE COMMUNITY AND MAKE IT
HAVE A SENSE OF PLACE. ADDITIONALLY, THEY, TOO, ARE
WORKING ON DEVELOPING A MICRO FINANCE ENTERPRISE, HELPING
LOCAL RESIDENTS BUILD UP THEIR CAPACITY TO EARN
ADDITIONAL FUNDS OR CREATE ART IN A WAY THAT SUPPORTS
THEM. MINDY --
>> THAT'S IT? >> YEAH, I JUST WANT TO MAKE
SURE THAT -- >> RIGHT, AGREE HE, FIRE
AWAY. I WANT TO INTRODUCE ELSON, MY
PARTNER IN CRIME OVER AT THE DEPARTMENT OF EDUCATION.
AND YOU CAN TAKE IT BACK, RIGHT?
>> ELSON? WE'RE HAVING SOME TECHNICAL
DIFFICULTIES. NELSON?
LET ME GO AHEAD AND MOVE FORWARD TO DAN MURRAY AND
JOHN DASONCHUP AT NEA. >> THANKS JAMES.
MY NAME IS DAN, DIRECTOR OF STRATEGIC PARTNERSHIPS AT THE
NATIONAL ENDOWMENT OF THE ARTS.
I'M GOING TO GIVE FOLKS ON THE CALL A BROAD CONTEXT FOR
THE CONVERSATION TODAY AS IT RELATES TO ART, TO
NEIGHBORHOOD REVITALIZATION. AND I WANT TO -- I HAVE A
PARTICULAR OBJECTIVE, WHICH IS TRYING TO CREATE -- WELL,
PER MY TITLE, MORE STRATEGIC PARTNERSHIPS AMONG ART, THE 10
THREE GRANT PROGRAMS, CHOICE, PROMISE AND NEA'S ART
PROGRAM. THERE ARE POLICY
CONVERSATIONS WE CAN HAVE TODAY AROUND THE INTERSECTION
AMONG THESE VARIOUS TRENDS THAT ARE TAKING PLACE ON THE
GROUND, BUT I ALSO WANT TO MAKE SURE GOING FORWARD THAT
TO THE EXTENT THERE IS INTEREST AMONG YOU GRANTEES,
ESPECIALLY THE PROMISE AND CHOICE FOLKS ON THE CALL
THAT, NEA AS A PARTNER TO YOU MAKES YOU THINK ABOUT
LINKAGES, GOING FORWARD AND APPLYING TO OUR PROGRAM.
MY COLLEAGUE, JASON, WILL WALK YOU THROUGH THE NUTS AND
BOLTS OF THAT PROGRAM, INCLUDING APPLICATION
DEADLINES. SO THE BROAD ARENA INTO WHICH
NEA'S TIME IS SPUN IS CALLED CREATIVE PLACE MAKING AND
MINDY TOUCHED ON THE KIND OF PLACE MAKING INTERESTS THAT
HAS ALWAYS BEEN THERE AMONG PEOPLE DOING WORK IN
NEIGHBORHOOD REVITALIZATION. WHAT JASON HAS CREATED WITH
OUR TOWN IS A UNIQUE INVESTMENT TOOL THAT ALLOWS
FOR PARTNERSHIPS BETWEEN THE MAYOR'S OFFICE AND ARTS
NONPROFIT TO TAKE A CATALYTIC CHANGE IN ARTS REVITALIZATION
IN COMMUNITIES. THE WAY I VIEW THIS AND THE
WAY WE AT NEA VIEW THIS IS A PART THROUGH THE SYSTEM,
SIMILAR TO THE FACT THAT HOUSING IS A SYSTEM,
EDUCATION IS A SYSTEM, TRANSPORTATION, LAND USE, ART
IS ALSO -- IT IS NOT SIMPLY JUST AN AESTHETIC EFFORT.
IT ALSO IS NOT JUST INDIVIDUAL ARTISTS OPERATING 11
IN A VACUUM. IT IS SOMETHING THAT TAKES
PLACE ACROSS MANY DIFFERENT TIMES AND LANDSCAPE HORIZONS
AND IT'S A PALPABLE SYSTEM THAT CAN TRANSFORM
COMMUNITIES ESPECIALLY WHEN LINKED STRATEGICALLY TO THOSE
OTHER INVESTMENT TOOLS AND SYSTEMS.
SO OUR TOWN IS THE FEDERAL GOVERNMENT'S ONLY DEDICATED
PLAY SPACE PROGRAM TO THIS WORK.
HOWEVER, IT, LIKE ALL PLAY SPACE WORK, IS A PLATFORM.
IT IS A RELATIVELY SMALL INVESTMENT POOL, ESPECIALLY
COMPARED TO CHOICE AND PROMISE, BUT PROVIDES
CATALYTIC FUNDING THAT CAN SERVE AS A WAY FOR OTHERS TO
ATTACK TO IT AND PROVIDE CHANGE AT THE LOCAL LEVEL.
CREATIVE PLACE MAKING IS FROM TWO RESEARCHERS WHO CAME UP
WITH A COMMONLY USED DEFINITION CAME UP WITH
PUBLIC-PRIVATE SECTORS TO STRATEGICALLY SHAPE THE
NEIGHBORHOOD. SO THE KEY HERE IS THAT THE
ARTS -- THIS IS ARTS AT THE CORE.
THIS IS NOT ART AS AN ADD-ON AT THE END OF THE PROJECT,
THIS IS NOT MAKING SURE THAT A COMMUNITY SPENDS ITS
REQUIRED AMOUNT ON ARTS. IT IS SOMETHING THAT ALLOWS
FOR ARTISTS AND ART TO BE CENTRAL TO THE INVESTMENT
STRATEGY AND THE REVITALIZATION STRATEGY, AND
WHAT WE ARE MOST INTERESTED IN, AND NEA, WE ARE TRYING TO
FOSS THEIR WORK. WE UNDERSTAND THIS IS A
RELATIVELY NEW ENTERPRISE, SO ONE OF MY HOPES FOR THIS CALL 12
IS TO INTRODUCE FOLKS TO THIS CONVERSATION AND GET THEM TO
SEE THE POTENTIAL HERE AND ASK QUESTIONS, LEARN MORE,
THEN NEA CAN BE A HELPFUL THOUGHT LEADER TO PROVIDE A
PIECE AND POTENTIALLY THROUGH GRANT PROGRAMS HELP FUND THIS
WORK ON THE GROUND. SO IN ADDITION TO THE KIND OF
REVITALIZATION AND IN THE HARD CONTEXT, THERE ALSO IS
WORK THAT WE KNOW TAKES PLACE BY ENGAGING ART TISS AND
STAKEHOLDERS IN REVITALIZATION ART AND THIS
IS SUCH A CAPITAL WORLD, WHERE WE HAVE SUCH STRONG
EVIDENCE THAT -- MY COLLEAGUE MARIA JACKSON WILL SPEAK TO
IT LATER -- HOW ARTISTS CAN PLAY A TRANSFORMATIVE ROLE IN
BUILDING THE PEOPLE AND SOCIAL CAPITAL THAT IS
REQUIRED TO REALLY TRANSFORM A NEIGHBORHOOD FROM ONE IN
CHRONIC DISTRESS TO A MORE REASONABLE PATH.
SO I'M GOING TO NOW PASS THE TIME TO MY COLLEAGUE, JASON,
WHO DIRECTS THE ART TIME PROGRAM, HE IS GOING TO WALK
YOU THROUGH THAT PROGRAM AND TELL YOU WHAT IT LOOKS LIKE
ON THE GROUND. >> I AM ABSOLUTELY THRILLED
TO BE ON THE PHONE WITH YOU ALL TODAY.
IT'S VERY EXCITING TO BE TALKING ABOUT OUR WORK.
JUST, AGAIN, WHEN WE ARE THINKING ABOUT CRITICAL PLACE
MAKING, WE NEED TO GET AWAY FROM THIS -- NOT TALKING LIKE
OH, THIS IS AN ART PROJECT IN OUR COMMUNITY.
IT'S ABOUT HERE'S OUR COMMUNITY, HERE'S WHAT WE
WANT TO SEE, HERE'S THE 150 TOOLS WE HAVE TO WE NEED TO 13
WORK ON OF BUILDING OUR COMMUNITY, AND ONE OF THOSE
10 OR 20 TOOLS THAT THE ARTS CAN PROVIDE TO ACTUALLY
BUILDING A BETTER COMMUNITY. THESE ARE SMALL BUT
CATALYTIC. IT IS A RELATIVELY NEW GRANT
PROGRAM, WE GIVE OUT ABOUT 190 GRANTS, FROM THE BEING
STRAITS -- >> [INAUDIBLE]
>> THE KEY THING ABOUT OUR TOWN IS IT IS A PARTNERSHIP
BETWEEN THE LOCAL GOVERNMENT AND OUR ARTS ORGANIZATION.
IT HAS TO BE THE LEADER, THE ELECTED LEADER OF THE FEDERAL
GOVERNMENT THAT ACTUALLY HAS THIS --
>> [INAUDIBLE] >> [TEXT IS BROKEN]
>> IT'S SHOCKED US AND THRILLED US AT THE AGENCY
THAT THE AVERAGE GRANT, EVEN IN SOME OF THE COMMUNITIES,
CAN FUND A TOWN OF ONLY 12 PEOPLE.
WE'RE SEEING UP TO 15 PARTNERS, UP TO 15
ORGANIZATIONS, THE AVERAGE NUMBER OF PARTNERS WE'RE
SEEING ON THE PROJECT OF OUR TOWN.
SO IT'S EVERYBODY, IT'S LIBRARIES, IT'S BUSINESS
ASSOCIATIONS, SCHOOLS, CONSTRUCTION FIRMS, BANKS,
OBVIOUSLY HOUSING AUTHORITIES ARE IN A LOT OF THESE.
SO EVERYBODY SORT OF IS ALL IN ON THE ARTS, AS IT IS ART.
SO THIS IS THE NITTY GRITTY YOU'VE BEEN WAITING FOR.
THREE BIG BUCKETS OF THINGS THAT YOU CAN APPLY FOR.
ONE IS ARTS ENGAGEMENT ACTIVITY, THIS INCLUDES
INNOVATIVE PROGRAMMING, PERFORMANCES OF THE ARTS, AND 14
WE TALKED ABOUT THE -- >> [INAUDIBLE]
WE KNOW THAT NOT EVERYBODY IS QUITE READY YET TO DO ACTUAL
PROGRAMMING, SO WE DO LIKE TO SUPPORT THAT PLANNING.
THAT CAN INCLUDE CULTURAL PLANNINGS, FIGURING OUT WHO
IS IN YOUR COMMUNITY WHO CAN ACTUALLY WORK WITH THIS.
WE DO WORK WITH CREATIVE ENTREPRENEURS, WE WORK WITH
FACILITIES, DESIGN OF PUBLIC SPACES AND HOW THEY MIGHT BE
USED FOR THE ARTS, AND ALSO ANY KIND OF DESIGN COMMUNITY
ENGAGEMENT ACTIVITY. SO REALLY, IT'S A BROAD SCOPE
OF WHAT YOU CAN APPLY FOR. HERE ARE APPLICATION
SCHEDULES. THE GUIDELINES APPROACH IN
SEPTEMBER, THEY ARE DUE JANUARY 13TH.
I'LL SAY THAT AGAIN, THEY ARE DUE BY MIDNIGHT EASTERN TIME
JANUARY 13TH. WE GO THROUGH THE APPLICATION
PROCESSING AND YOU CAN START A PROCESS DECEMBER 1ST, 2014.
SO YOU ARE LOOKING AT NO ACTIVITIES CAN HAPPEN IN THE
GRANTS BEFORE SEPTEMBER 1ST OF THE NEXT YEAR.
SO REALLY QUICKLY, WE'RE ARE -- I WANTED TO SHOW ANOTHER
PROJECT THAT WE FUNDED. SO OPALACA HAS A LOT GOING
ON, OBVIOUSLY. IT'S GOT CHOICE NEIGHBORHOODS
GRANTS. THERE'S PART OF THE COMMUNITY
THAT IS IN THE -- THAT IN THE '80S WAS SORT OF CORDONED OFF
WITH METAL BARRIERS TO KEEP OUT DRUG CRIME, SO THEY CAME
UP TO US, SAID WE WANT TO TEAR DOWN THESE BARRIERS,
BRING IN THE BEST ARTISTS IN THE COUNTRY TO RETHINK THE 15
ENTRY POINTS INTO OUR COMMUNITY.
SO THEY MADE AN AMAZING PROCESS, BRINGING THESE GREAT
ARTISTS TO RETHINK THESE SPACES AND THEY ARE BEGINNING
TO IMPLEMENT THOSE NOW. IN SHREVEPORT, LOUISIANA, IN
A KEY PART OF THE DOWNTOWN, THERE ARE QUITE A FEW
ABANDONED BUILDINGS, THEY ARE LOOKING AT BUILDING AN ARTS
HISTORIC DISTRICT. THE KEY WAS THIS OLD
FIREHOUSE YOU SEE THERE, THE SHREVEPORT ARTS COUNCIL MOVED
INTO IT, SO THEY REFUNDED PART OF THE DESIGN WORK FOR
THIS, AND CULTIVATED PLANS FOR HOW TO ACTIVATE OTHER
PARTS OF THE SOCIETY. THEY CAME BACK TO US AND ALSO
RECEIVED MONEY TO LOOK AT CREATING A TRANSPORTATION
CENTER AND ALSO LOOKING AT A BUNCH OF OTHER INTERESTING
ARTIST SPACE ACTIVITIES. THERE'S A LOT OF NEW
INVESTMENT IN THE AREA. OUR MONEY WAS -- WE'VE
INVESTED AROUND $150,000 AND THERE'S BEEN AT LEAST
$5 MILLION, NEW DOLLARS, A LOT OF PEOPLE BUYING UP
BUILDINGS AND RENOVATING THEM.
SO THIS IDEA OF THIS INSTITUTION IN THE
NEIGHBORHOOD IS USING ARTS AS A LEVER, IN A REALLY
INTERESTING WAY FOR THIS GREAT PROJECT.
>> FINALLY, I JUST WANTED TO MENTION THIS FANTASTIC
PROJECT IN SAN DIEGO. MANY OF YOU ARE PROBABLY
FAMILIAR WITH THE FAMOUS MARKET CREEK AREA OF THE
COMMUNITY AND THE WORK THAT THE CENTERS FOR RENOVATION 16
HAS BEEN DOING. THEY CAME TO US AND THEY SAID
WE'VE BEEN DOING THIS DEEP, AUTHENTIC, EQUITABLE
COMMUNITY WORK BUT THEY HAVEN'T STEPPED BACK AND SAID
HOW DO WE BRING THE ARTS TO THIS.
THEY WANTED TO DO A PLANNING PROJECT.
WE WANT TO FIGURE OUT HOW TO DEEPLY INVOLVE THE ARTS IN
ALL OF OUR PLANNING WORK. >> [INAUDIBLE]
>> IT'S A PRETTY GREAT ARTS AND DESIGN PLAN FOR THE
COMMUNITY GOING FORWARD AND THEY ARE COMING BACK TO US
FOR FUNDING TO IMPLEMENT QUITE A BIT OF THAT, QUITE A
FEW OF THE PROJECTS. IF YOU GO TO OUR WEBSITE, YOU
WILL FIND ALL THE APPLICATIONS.
WE HAVE SAMPLE NARRATIVES ON LINE.
YOU CAN READ ABOUT THESE PLANS UNTIL YOU ARE BLUE IN
THE FACE. WE HAVE ALL THAT INFORMATION
ON LINE, ARTS.GOV, ARTS.GOV. IF YOU HAVE ANY QUESTIONS
ABOUT OUR TOWN, E-MAIL US, OT AT ARTS.GOV AND WE WILL
ANSWER THOSE QUESTIONS. THANK YOU VERY MUCH,
EVERYBODY, LOOKING FORWARD TO GETTING APPLICATIONS FROM YOU
GUYS. >> I INTRODUCE MY COLLEAGUE
AND FRIEND MARIA JACKSON. MARIA IS A MEMBER OF THE
NEA'S NATIONAL COUNCIL ON THE ARTS, NEA'S KIND OF GOVERNING
AND ADVISORY BODY. SHE IS A PRESIDENTIAL
APPOINTEE THERE. SHE ALSO HAS SPENT YEARS AT
THE URBAN INSTITUTE REALLY BUILDING OUT THE RESEARCH 17
CASE AROUND ARTS AND REVITALIZATION WORK, SO
TAKING THE THEORY THAT WAS ONCE A THEORY THAT ARTISTS
ARE KIND OF CENTRAL TO THE WORK REVITALIZATION AND
DEMONSTRATING THE STRONGEST ENTRY CASE FOR THAT AND ALSO
DEVELOPING ESSENTIALLY THE POLICY FRAME AROUND A SOCIAL
JUSTICE LENS FROM WHICH TO VIEW THIS WORK.
SHE ALSO BUILT THE ORGANIZATION THAT IS A KEY
FUNDING FOR A LOT OF THE PROMISE AND CHOICE WORK, AND
IN TURN, OUR WORK, SO SHE HAS BROUGHT A NATIONAL
PERSPECTIVE TO THE CONVERSATION HERE AND IS
GOING TO GIVE US A SENSE OF THE POTENTIAL OF THIS WORK
AND SOME OF THE POWERS THAT THE ARTS COUNCIL IS BRINGING
TO THE REVITALIZATION STRATEGY.
>> THANKS, DAN. GOOD AFTERNOON, EVERYONE.
MY REMARKS ARE GOING TO DRAW FROM ABOUT 25 YEARS OF WORK
ON COMMUNITY REVITALIZATION IN LOW INCOME NEIGHBORHOODS,
AND ABOUT 20 YEARS OF SPECIFICALLY LOOKING AT THE
ROLES OF ARTS AND CULTURE AS A DIMENSION OF THAT.
MY BACKGROUND ISN'T ORIGINALLY IN THE ARTS, IN
URBAN PLANNING. WHEN I FIRST STARTED DOING
THIS WORK, WITH A PARTICULAR FOCUS ON ARTS AND CULTURE, I
OFTEN FOUND COLLEAGUES IN PLANNING AND COMMUNITY
DEVELOPMENT TO BE PERPLEXED, AND I WOULD HEAR -- I HEAR
OUR WORK IS ON LOW INCOME COMMUNITY, ISN'T IT, SO WHY
ARE YOU DOING THIS ARTS AND CULTURE STUFF, AND MY 18
RESPONSE TO THAT QUESTION IS THAT AROUND THE WORLD AND
THROUGHOUT THE AGES, STRATEGIES TO DISEMPOWER
COMMUNITIES HAVE OFTEN INVOLVED STRIPPING AWAY ARTS
AND CULTURE, STRIPPING AWAY THE ABILITY AND OPPORTUNITIES
OF PEOPLE TO AUTHENTICALLY AND AESTHETICALLY EXPRESS
THEMSELVES, SO MAKE MEANING TO ASK CRITICAL QUESTIONS, TO
EXERCISE THEIR IMAGINATION AND INTELLECT.
SO ITS HISTORICALLY, ART AND CULTURAL ACTIVITY, IS SO
IMPORTANT THAT IT HOS TO BE REMOVED TO CURTAIL OR
DISEMPOWER GROUPS, SO I WOULD ASK, WHY ISN'T OR WHY AREN'T
STRATEGY THAT IS ARE ALLEGED TO BE ABOUT EMPOWERMENT AND
ADVANCEMENT, WHY DON'T THEY HAVE ARTS AND CULTURE AT
THEIR CORE, SO MY WORK IN THE LAST 20 YEARS OR SO HAS BEEN
ABOUT BETTER UNDERSTANDING HOW ARTS AND CULTURE MANIFEST
IN LOW INCOME COMMUNITIES, HOW IT MIGHT CONTRIBUTE TO
REVITALIZATION AND HOW TO INTEGRATE ARTS AND CULTURE
INTO POLICES AND PROGRAMS TO CREATE PLACES WHERE PEOPLE
DON'T JUST LIVE, BUT WHERE THEY THRIVE.
MY TIME AT THE URBAN INSTITUTE, THE INSTITUTE IN
WASHINGTON, D.C., REALLY PROVIDED AN OPPORTUNITY FOR
ME TO LEAD SEVERAL MULTI-YEAR NATIONAL APPLIED RESEARCH
PROJECTS THAT HAVE ALLOWED ME TO EXPLORE THE QUESTIONS I
JUST LISTED, AND THAT EXPERIENCE, COUPLED WITH
PERSONAL INVOLVEMENT WITH ARTISTS, AS WELL AS VARIOUS
KINDS OF CULTURAL ORGANIZATIONS, HAS LED TO A 19
SET OF GUIDING PRINCIPLES, GUIDING PREMISES, THAT
CONTINUES TO INFORM MY WORK IN THE RELATE' PHILANTHROPY,
PUBLIC POLICY WITH NATIONAL ENDOWMENT FOR THE ARTS, ALSO
IN MY TEACHING AT THE GRADUATE LEVEL.
SO I WANT TO SHARE THESE GUIDING PREMISES WITH YOU AND
HOPEFULLY IT WILL SPARK SOME CONVERSATION AND MAYBE
QUESTIONS OR THINKING ABOUT YOUR OWN INTERPRETATION OF
ARTS AND CULTURE IN THE COMMUNITIES WHERE YOU LIVE
AND WORK. ONE PREMISES IS THAT
CREATIVITY IS A NATURAL IMBURSE, AND A COMMUNITY
ASSET FROM WHICH TO BUILD. IT'S SOMETHING THAT EVERYONE
HAS AND WHILE EVERYONE MAY NOT ASPIRE TO BE A
PROFESSIONAL ARTIST OR TAKE THAT PATH AS A CAREER, IN
FACT, THERE IS A HUMAN INSTINCT TO WANT TO INVENT,
TO TELL A STORY, TO BE CREATIVE, TO CREATE
SOLUTIONS. AND OFTEN, WHEN WE THINK
ABOUT ASSET-BASED COMMUNITY DEVELOPMENT, SOMETIMES THE
ROLE OF ARTS AND CULTURE ISN'T QUITE ON THE RADAR.
IT'S ABOUT COMMUNITY ASSETS. IT'S IMPORTANT TO THINK ABOUT
COMMUNITY ASSETS TO INCLUDE CULTURAL ACTIVITY.
PLUS, IT IS A DETERMINATION OF CRUCIAL EQUITY WHAT I MEAN
BY THAT, IT'S AN EQUITY ISSUE TO HAVE A SAY AND HAND IN
WHAT YOUR STORY IS, HOW COMMUNITIES COME TO TELL
THEIR HISTORY, HOW THEY COME TO EXPRESS THEIR ASPIRATIONS,
AND HOW THEY COME TO CREATE THE PLACES THAT THEY LIVE IN, 20
HOW THOSE PLACES LOOK AND FEEL, THAT ENVIRONMENT IN
WHICH THEY ARE ENGAGED EVERY DAY AS PART OF BOTH
INDIVIDUAL AND COLLECTIVE LIVED EXPERIENCE, THE ABILITY
TO HAVE A HAND IN THAT IS A CRUCIAL EQUITY ISSUE.
CULTURAL PARTICIPATION TAKES MANY FORMS AND HAPPENS IN A
WIDE RANGE OF VENUES. IT'S NOT LIMITED TO AUDIENCE
PARTICIPATION AND FORMAL CULTURAL VENUES, ALTHOUGH
THOSE ARE VERY IMPORTANT DIMENSIONS OF HOW WE THINK --
SHOULD THINK ABOUT CULTURAL ENGAGEMENT.
A LOT OF TIMES, THE DEFAULT IS TO THINK THAT ARTS AND
CULTURE HAPPENS ONLY IN CULTURAL PALACES OR CULTURAL
SPACES THAT ARE DESIGNATED, FOR THAT PURPOSE, WHEN, IN
FACT, THE RESEARCH THAT I DID FOR MANY YEARS AT THE URBAN
INSTITUTE POINTED TO ARTS AND CULTURE HAPPENING IN A VERY
WIDE RANGE OF SETTINGS THAT INCLUDE PUBLIC AND PRIVATE
PLACES RANGING FROM CLINICS AND SCHOOLS TO COMMUNITY
CENTERS, PARKS, AND THAT A CULTURAL PARTICIPATION ISN'T
LIMITED TO ONLY CONSUMING ARTS, BUT ALSO, TO MAKING,
DOING, TEACHING, ACTIVELY ENGAGING, AND PUTTING FORWARD
IDEAS, AESTHETIC EXPRESSION, IN ADDITION TO WHAT WE
TYPICALLY THINK ABOUT, WHICH IS MORE OF THE CON SUMP TIFF
RELATIONSHIP TO ART THAT, IS, YOU BUY IT, OR YOU GO TO
WITNESS IT. AGAIN, A VERY IMPORTANT
DIMENSION FOR PARTICIPATION BUT NOT THE ONLY ONE THAT
SHOULD BE ON OUR RADAR. ANOTHER PREMISES IS THAT ART 21
PROCESS CAN BE AS IMPORTANT OR EVEN MORE IMPORTANT THAN
ART PRODUCT AT SOME POINT, SO WHEN YOU THINK ABOUT ARTS AND
CULTURE, YOU MAY THINK OF A PAINTING, OR A PLAY, AND
WHILE THOSE CERTAINLY ARE MANIFESTATIONS OF ARTS AND
CULTURE, WHAT OFTEN ISN'T ON THE RADAR IS THE PROCESS BY
WHICH THOSE PRODUCTS ARE CREATED.
AND AS WE LOOK AROUND, MANY OF THE EXAMPLES THAT HAVE
ALREADY BEEN MENTIONED, THERE'S EVIDENCE OF NOT ONLY
THE END PRODUCT BEING IMPORTANT, BUT THE ACTUAL
CREATIVE PROCESS, ESPECIALLY WHEN IT INCLUDES ENGAGING
RESIDENTS AND REGULAR PEOPLE IN THAT CREATIVITY.
THAT, TOO, IS SOMETHING THAT WARRANTS ATTENTION, RESOURCES
AND PLANNING. ARTISTS HAVE MANY KINDS OF
RELATIONSHIPS WITH PUBLIC AND ROLES WITHIN COMMUNITIES, SO
IN ADDITION TO BEING THE MAKERS OF THINGS TO BUY OR
EXPERIENCE, THERE'S LOTS OF EVIDENCE OF ARTISTS ACTUALLY
HELPING PEOPLE TAKE RESPONSIBILITY FOR THEIR OWN
CREATIVITY AND PARTICIPATING IN COMMUNITIES AS LEADERS.
CONCEPTUALIZING PROGRAMS. OR HELPING PEOPLE TELL THE
NARRATIVE, OR TELL THE STORY OF THEIR PARTICULAR PLACE.
CERTAINLY, THE EXAMPLE THAT'S COME UP A FEW TIMES ALREADY,
IN OPALACA, THERE IS AN EXAMPLE WHERE ARTISTS WERE
BROUGHT IN EARLY ON IN THAT PROCESS TO HELP IN THE
CONCEPTUALIZATION OF WHAT THE ISSUES TO BE ADDRESSED WOULD
EVEN BE. SO GETTING BEYOND THINKING 22
ABOUT ARTS AS ONLY ORNAMENTAL OR SOMETHING THAT HAPPENS AT
THE END OF THE PROCESS, IT'S AN IMPORTANT THING TO DO AS
WE EXPAND AND PUSH THE ENVELOPE ON WHAT IT IS THAT
IT NEEDS TO HAVE TO HAVE A HEALTHY COMMUNITY AND WHAT
STRATEGIES TO CREATE HEALTHY COMMUNITIES LOOK LIKE.
THE ROLE OF ARTISTS AND REENGAGING THEM AT THE
BEGINNING, NOT JUST AT THE END, BECOMES CRUCIALLY
IMPORTANT. OPPORTUNITIES FOR CULTURAL
PARTICIPATION RELY ON MULTIPLE STAKEHOLDERS, AND I
THINK ONE OF THE SLIDES THAT JASON SHUPAK SHOWED POINTS TO
THAT. SO CERTAINLY, IN THE OUR
TOWNS PROGRAM, THE RANGE OF PARTNERS THAT ARE INVOLVED IN
A VERY INTERESTING PROJECT THAT WILL STIMULATE ACTIVE
ENGAGEMENT AND LEAD TO PHYSICAL IMPROVEMENT AND
OTHER KINDS OF BENEFITS DON'T ONLY HAPPEN WITH THE ARTS
SPECTER ALONE, BUT WITH THE COLLABORATION OF PROSPECTORS,
OF HEALTH, EDUCATION, WITH HOUSING, WITH ENVIRONMENT,
WITH TRANSPORTATION, AND WE'RE BEGINNING TO SEE MORE
AND MORE KINDS OF COLLABORATIONS THAT ARE WORTH
EXPLORING. >> THE WAY -- I DON'T WANT TO
BE RUDE, BUT MAKE SURE OF -- >> JUST VERY QUICKLY, WELL,
ARTS AND CULTURAL ACTIVITY IS INTRINSICALLY IMPORTANT, IT'S
ALSO RELEVANT FOR OTHER COMMUNITY CONCERNS AND
DYNAMICS, AND HERE I'VE LISTED SOME OF THE KINDS OF
THINGS THAT MY RESEARCH AND RESEARCH OF OTHERS BEGINS TO 23
POINT TO, SPECIFIC TO PARTICIPATION, SOCIAL
CAPITAL, IMPROVEMENTS IN THE ENVIRONMENT, STEWARDSHIP OF
PLACE, PRESERVATION OF CULTURAL HERITAGE, CREATION
OR AFFIRMATION OF IDENTITY, EDUCATION OUTCOMES, HEALTH
OUTCOMES, ECONOMIC DEVELOPMENT.
THERE'S AN LOT OF FOCUS ON ECONOMIC DEVELOPMENT, BUT
THESE OTHER OUTCOMES ARE ALSO CRUCIALLY IMPORTANT TO PAY
ATTENTION TO. LAST, THE CURRENT POLICY
ENVIRONMENT PROVIDES AN OPPORTUNITY FOR CROSS
CONNECTIONS FOR INTEGRATION AND THIS WEBINAR IS AN
EXAMPLE OF THAT. I ENCOURAGE YOU TO SEIZE THE
MOMENT AND EXPLORE THE POSSIBILITIES FOR YOU.
THANK YOU. >> AND AT THIS POINT, I'D
LIKE TO INTRODUCE BURT CRANKA, THE FOUNDER AND
ARTISTIC DIRECTOR OF AS220 IN PROVIDENCE, RHODE ISLAND,
AS220 HAS BEEN A CRUCIAL CATALYST IN THE
REVITALIZATION OF DOWNTOWN PROVIDENCE AND IN ADDITION TO
BEING AN ARTIST, BURT HAS BEEN ON THE SCHOOL BOARD, THE
DOWNTOWN IMPROVEMENT DISTRICT AND BOTH WERE POSITIONS THAT
WERE A MAYORAL APPOINT AND ALSO SERVED ON THE MAYOR'S
ARTS AND CULTURE AND TOURISM ADVISORY BOARD AND CURRENT
MAYOR'S TRANSITION TEAM. BURT?
>> THANK YOU MARIA. ALWAYS INSPIRING.
I APOLOGIZE FOR THE FRENETIC NATURE OF THIS PRESENTATION,
GIVEN THAT I WAS ASKED TO DO AN HOUR AND A HALF 24
PRESENTATION IN 10 MINUTES. I WOULD LIKE TO JUST READ TO
YOU QUICKLY AS220'S VISION STATEMENT WHICH I DO NOT HAVE
A SLIDE OF. AS220 ENVISIONS A JUST WORLD
WHERE ALL REALIZE THEIR FULL CREATIVE POTENTIAL.
THESE ARE THREE BUILDINGS THAT WE OWNED AND REDEVELOPED
INTO DOWNTOWN. THE TOP LEFT PICTURE IS AN
INDICATION, IF YOU LOOK BEHIND IT, OF WHAT THE
DOWNTOWN LOOKED LIKE, IN 1985, WHEN AS220 ORIGINALLY
STARTED IT IN ANOTHER BUILDING, THE DOWNTOWN WAS
COMPLETELY ABANDONED. AS220 STARTED WITH $800, IN
ONE OF THOSE ABANDONED BUILDINGS.
IT HAD NO HEAT OR ELECTRICITY.
STARTED PROGRAMMING, INDEPENDENT OF LICENSING OR
PERMITS OR ANYTHING. THE EFFORTS STARTED CREATING
A PLACE WHERE, AS MARIA, WAS POINTING OUT, WHERE THE
EMPHASIS WAS ON ART PROCESS AND THE INTRINSIC VALUE OF
WHAT ARTISTS AND ART PROCESS BRINGS, INDEPENDENT -- I MEAN
NOT EMPHASIZING THE PRODUCT AS A COMMODITY OR THE ARTIST
AS A COMMODITY. SO WE STARTED WITH $800, WE
ARE NOW A $4 MILLION A YEAR ORGANIZATION, WITH 60
EMPLOYEES. I ALSO WANT TO CLARIFY
SOMETHING ELSE. I KNOW THAT THE GRANTEES ARE
ATTENDING THIS WEBINAR, AND ARE MOSTLY NEIGHBORHOOD-BASED
AND WE ARE IN THE DOWNTOWN. I WOULD LIKE TO JUST GIVE YOU
SOME CONTEXTUAL SENSE OF THIS. 25
THE DOWNTOWN TRULY WAS ABANDONED.
THE DOWNTOWN WAS REIMAGINED AS A COMMUNITY, A LIVING
COMMUNITY, AND THAT'S WHAT IT HAS BECOME AND AS220 HAS BEEN
A CATALYST FOR THAT, REIMAGINING THE DOWNTOWN IN
THAT WAY. FOR THOSE OF YOU THAT DON'T
KNOW PROVIDENCE, YOU SHOULD ALSO REALIZE THAT THE
DOWNTOWN SORT OF LEADS PRETTY SEAMLESSLY INTO THE
NEIGHBORHOODS, SO AS220 REALLY ACTS AS A CULTURAL HUB
FOR NOT JUST THE PROVIDENCE NEIGHBORHOODS, BUT FOR THE
ENTIRE STATE OF RHODE ISLAND. THIS IS WHAT THOSE BUILDINGS
LOOK LIKE NOW. THEY REPRESENT $25 MILLION OF
INVESTMENT IN THE DOWNTOWN, AND THERE'S BEEN MULTIPLES OF
THAT $25 MILLION INVESTED ALL AROUND US.
THIS IS OUR MISSION STATEMENT.
I'LL GIVE YOU A SECOND TO GLANCE AT THAT QUICKLY.
I WOULD LIKE TO EMPHASIZE THE PLACE WHERE IT SAYS OUR
FACILITIES AND SERVICES ARE MADE AVAILABLE TO ALL WHO
NEED A PLACE TO EXHIBIT, PERFORM OR CREATE ORIGINAL
ARTWORK, ESPECIALLY THOSE WHO CANNOT OBTAIN SPACE FROM
TRADITIONAL SOURCES BECAUSE OF FINANCIAL OR OTHER
LIMITATIONS. AND THIS IS WHAT WE DO.
SO WE HAVE ADMISSION WHICH MEANS THAT ANY RHODE ISLAND
ARTIST, ANY MEDIUM, DOING ANY ORIGINAL MATERIAL, GETS AN
OPPORTUNITY SOMEHOW OR OTHER TO ACCESS OUR FACILITIES AND
RESOURCES AND WE STILL DO THAT, THAT'S WHERE WE 26
STARTED, THAT'S WHERE WE ARE. ALL OF OUR ACTIVITIES ARE ALL
AGE, ALL THE TIME. WE HAVE AN EQUAL PAY POLICY.
ALL OF THE STAFF OF THE NONPROFIT, I SHOULD ALSO
MENTION WE'RE A HYBRID IN THE SENSE THAT WE ARE A 501C3
WITH SEVEN FOR-PROFIT CORPORATIONS UNDER OUR
UMBRELLA. NO TIME TO EXPLAIN.
THE EQUAL PAY POLICY, I THINK, HAS ENGENDERED A
TREMENDOUS AMOUNT OF TRUST WITHIN THE COMMUNITY AND THE
COMMUNITY FEELS A PHENOMENAL SENSE OF OWNERSHIP IN WHO WE
ARE. IN PROGRAMMING IN ANY GIVEN
MONTH, WE HAVE 100-150 OPPORTUNITIES FOR PEOPLE TO
PARTICIPATE IN PROGRAMMING, WHETHER THAT BE CLASS,
PERFORMANCE BASED GALLERY, BLACK BOX, DANCE THEATER, ANY
NUMBER OF OPPORTUNITIES UP TO ABOUT 150 SORT OF ACCESS
POINTS AT ANY GIVEN MONTH. LIVE-WORK STUDIOS, WE HAVE 48
LIVE STUDIOS, THE VAST MAJORITY OF WHICH ARE
AFFORDABLE AND A NUMBER OF WORK STUDIOS.
THERE ARE THREE STYLES OF LIVING.
THERE'S A COMMUNAL FLOOR, WHICH IT GOES BACK TO WHERE
WE STARTED, THEN THERE ARE SMALLER AND THEN LARGER LOFT
APARTMENTS. WHAT THIS REALLY SPEAKS TO AS
WE MOVE DOWN THE LIST IS TRULY MIXED USE, MIXED INCOME
DEVELOPMENT. WE ALL KNOW, ALL OF US WHO
ARE WORKING IN THE FIELD, UNDERSTAND THE STRENGTH OF
THAT KIND OF THINKING AND THAT KIND OF DEVELOPMENT. 27
SO GOING DOWN THE LIST ARE INDUSTRIES.
WE HAVE A FABRICATION LABORATORY, A PRINT SHOP, A
MEDIA LAB, OUR FABRICATION LABORATORY HAS THE TRENDY 3D
PRINTERS, CNC ROUTERS, WE MAKE CLASSES AND ACCESS TO
THOSE TOOLS EXTREMELY AFFORDABLE.
WE HAVE COME TO REALIZE THAT PROVIDING ACCESS NOT JUST
EDUCATION, BUT ALSO, TO TOOLS THAT YOU BUILD COMMUNITY.
THERE ARE MACHINES WHERE THERE ARE COMMUNITIES BUILT
AROUND THEM WITHIN OUR ORGANIZATION, SHARING
KNOWLEDGE ABOUT HOW TO GET CERTAIN THINGS ACCOMPLISHED
WITH THAT EQUIPMENT. OUR YOUTH PROGRAM WHICH WON A
NATIONAL AWARD LAST YEAR WORKED PREDOMINANTLY WITH
KIDS IN THE DEPARTMENT OF CHILDREN AND FAMILIES, WE
WORK INSIDE THE JUVENILE PRISM AND OUTSIDE THE
JUVENILE PRISM, WE TEACH ALL OF THE ARTS DISCIPLINES AND
MANY REQUIRE SOME TECHNICAL CAPACITY, AND I'M REALLY,
REALLY PROUD OF OUR PROGRAM. FOOD AND DRINK, WE HAVE OUR
OWN RESTAURANT AND BAR. WE REALIZE THAT FOOD AND
DRINK IS PROBABLY THE LOWEST BARRIER ACCESS POINT IN AS220
AND OF COURSE THROUGH THAT FACILITY, WE MARKET A LOT OF
OUR OTHER EVENTS, AND WE ALSO WORK WITH -- AND ONE OF THE
FIRST FOOD TO TABLE -- I MEAN FARM TO TABLE, WHERE WE WORK
WITH OVER 40 LOCAL FARMERS, OUR MENU CHANGES FIVE TIMES A
YEAR AND WE KEEP IT EXTREMELY AFFORDABLE.
YOU CAN GET A SWORDFISH DINNER FOR $11 AT AS220. 28
MAKES THE BREAK EVEN POINT CHALLENGING, IF YOU WILL.
THEN WE HAVE OUR OWN BAR, BUT WE DON'T OPEN IT UNTIL 5:00.
IT'S ABOUT IT BEING COMPLEMENTARY TO OTHER
PROGRAMS AND THE FOOD AND DRINK IS JUXTAPOSED TO A
BLACK BOX THEATER. THE LOCAL BUSINESSES, WE'VE
HELPED TO RAISE THEIR PROFILE, BOTTOM LINE, A GAY
BAR, A SPORTS BAR, A MEXICAN RESTAURANT A. LOCK SMITH AND
A BARBER SHOP, AND OTHER NONPROFIT TENANTS, ONE OF
WHICH WE NURTURED THROUGH FISCAL AGENCIES WHICH IS A
FIRST GENERATION COLLEGE ACCESS PROGRAM, CALLED
COLLEGE VISIONS, WHICH IS BEGINNING TO GAIN ITS OWN
NATIONAL ATTENTION, THE RAILROAD COUNCIL ON THE
AMENITIES, AND ON AND ON. SO THIS IS SOME IMAGES OF
SOME OF THE TYPICAL -- ON THE TOP LEFT, IT'S SOMETHING IN
OUR PERFORMANCE BASE, THE BOTTOM LEFT IS THE ANNUAL
EVENT, WHICH IS A REAL COMMUNITY EVENT, WHEN WE SHUT
DOWN THE STREETS AND HAVE 20 LOCAL ACTS PARTICIPATING,
VARIOUS DIVERSION FOOD VENDORS, AND -- YEAH, I'M
DONE? AND HERE IS THE CAFE.
>> THANK YOU VERY MUCH, BURT, FOR ALL OF THAT GREAT
INFORMATION. AS I MENTIONED IN THE
WEBINAR, WE'RE GOING MAKE SURE ALL THIS MATERIAL AND
WAY TO CONTACT STAFF WILL BE AVAILABLE TO ALL PARTICIPANTS
AFTER THE WEBINAR. IN THE INTERIM, PLEASE
CONTINUE TO SUBMIT YOUR QUESTIONS THROUGH THE Q & A 29
FUNCTION. FINALLY IN THE WEBINAR, WE
HAVE BEEN HAVING TECHNICAL DIFFICULTIES AND COULD NOT
GET NELSON NASH FROM THE DEPARTMENT OF EDUCATION.
WE WERE NOT ABLE TO PRESENT HIM.
I'M GOING TO TAKE A BRIEF MOMENT BEFORE WE GO TO Q & A
AND GO AHEAD AND GIVE ELSON THE OPPORTUNITY TO TALK ABOUT
PROMISE AND HOW THE ARTS RELATE TO PROMISE.
>> THANK YOU. I WANT TO APPRECIATE
EVERYTHING AND I APPRECIATE MY COLLEAGUES, PARTICULARLY
MINDY AND DAN AND MARIA FOR THE PRESENTATION, AND BURT,
FANTASTIC WORK. IT DOES MIX IN WELL WITH THE
WORK OF PROMISE NEIGHBORHOODS, WHICH IF YOU
THINK ABOUT THE PHYSICAL DEVELOPMENT THAT MANY OF OUR
COUSINS AT THE CHOICE PROGRAM ARE DOING, WE PROVIDE SOME OF
THE EDUCATION ENRICHMENT FROM CRADLE TO CAREER.
MOVING ON TO THE NEXT ONE. AND SO WITH THE PROMISE
NEIGHBORHOOD'S TENTATIVE ACTION, WE TALK ABOUT
RESOURCE LEVERAGING AND THE BOX THAT'S HIGHLIGHTED TALKS
ABOUT LEVERAGING OTHER PROMISE, AND IN THIS CASE, WE
LEVERAGE OUR HUD, JUSTICE, LABOR, AND STATE AND LOCAL
FUNDING AS WELL. WE DO THAT IN A WAY TO HELP
BUILD SOLUTIONS FROM EARLY LEARNING THROUGH COLLEGE AND
CAREER. SO MANY OF THE THINGS THAT
BURT TALKED ABOUT, LIKE THE COLLEGE ACCESS PROGRAM, THOSE
ARE THE TYPES OF PROGRAMS THAT WE DO WITH PROMISE, BUT 30
WE DO IT IN A WAY THAT BLENDS FROM EARLY LEARNING, ALL THE
WAY THROUGH TO COLLEGE AND CAREER.
WE HAVE A COMPETITIVE PREFERENCE THAT FOCUSED ON
THE ALL THINGS HUMANITY AND THESE ARE THE SEVEN
IMPLEMENTATION GRANTEES THAT HAVE THEM, AND THE TYPES OF
THINGS THAT THEY ARE DOING, WITH OUT OF SCHOOL TIME,
FAMILY ENGAGEMENT AND SCHOOL CURRICULUM.
SO YOU SEE THE BREADTH OF THE PROGRAMS, THAT WHERE WE ARE,
KENTUCKY, TO AVISTA, ESSENTIALLY IN SAN DIEGO,
HAYWARD, CALIFORNIA, INDIANOLA, WHICH IS IN
MISSISSIPPI, OUR COLLEAGUES IN L.A., WPI, AND WE HAVE
SOME OF THOSE FOLKS ON THE LINE, LUBBOCK, TEXAS, AND
ALSO, MINNEAPOLIS. AND SO ONE EXAMPLE IS OUR
COLLEAGUES THERE IN KENTUCKY, I SELECT THUNDERSTORM ONE
BECAUSE WE EMBRACE BOTH RURAL AND URBAN SETTINGS, AND IN
THIS CASE, THEY HAVE ARTISTS AND RESIDENTS THAT WORK IN
THE SCHOOLS. YOU SEE A YOUNG LADY THERE,
PLAYING, I BELIEVE THAT'S A UKULELE.
AND IN THIS CASE, IT REALLY IS TAILORED TO THE
APPALACHIAN CULTURE. THE ARTISTS AND RESIDENTS, AS
YOU SEE, THE GENTLEMAN LOOKING AT THE PICTURE THERE,
THE ARTISTS AND RESIDENTS HELP TO DEVELOP SOME OF THE
PROGRAMMING IN SCHOOLS AND OUT OF SCHOOLS WITH FAMILIES
AND WITH CHILDREN. AND IT REALLY IS A WONDERFUL
OPPORTUNITY TO HIGHLIGHT THE CULTURES, SIMILAR IN THE WAY 31
IN WHICH OUR COLLEAGUES ARE DOING IN OUR SISTER PROGRAM,
LIKE CHOICE AND NEA. SO WITH THAT, JANE, I JUST
WANT TO THANK YOU FOR WORKING WITH ME ON GETTING US BACK UP
AND RUNNING, AND THANK YOU AS THE PARTICIPANTS FOR YOUR
PATIENCE. >> THANK YOU, ELSON.
WE WILL GO AHEAD TO THE QUESTION AND ANSWER PORTION
OF THE WEBINAR. FIRST QUESTION HAS COME IN
FOR MINDY AND DAN. ARE THERE EXAMPLES OF ARTS
ORGANIZATION OR HOUSING ORGANIZATIONS THAT ARE
WORKING WELL TOGETHER THAT YOU CAN SHARE?
WHAT LESSONS FROM THAT COLLABORATION SHOULD
PARTICIPANTS APPLY? >> GO AHEAD.
WE'LL START WITH YOU DAN. >> THERE ARE LOTS OF EXAMPLES
OF THOSE HAPPENING RIGHT NOW, -- [INAUDIBLE]
>> A PRIME EXAMPLE WOULD BE THE HOUSING AUTHORITY IN
WYOMING HAS ACTUALLY BEEN WORKING PRETTY CLOSELY WITH
MUSEUMS ON TRYING TO BRING MORE PUBLIC ARTS.
>> [BROKEN AUDIO] >> ALSO, JUST A SORT OF
GENERAL KIND OF HOUSING PLANNING PROJECT, IN SOUTH
CAROLINA, -- >> [BROKEN AUDIO]
>> IT IS DEEPLY INVOLVING ARTISTS IN THE ACTUAL --
>> [BROKEN AUDIO] >> A LOT OF THE PROJECTS END
UP BEING ACTUAL ARTS PROGRAMS THEMSELVES OR END UP LOOKING
AT SUPPORT FOR ARTISTS THAT ARE IN RESIDENCE OR THEIR
CAREERS OR THEY HAVE AN ARTIST IN THE ENVISIONING AND 32
PLANNING OF THE COMMUNITY. THERE ARE SPECIFIC EXAMPLES
OF ALL THOSE KINDS OF THINGS. I THINK THE CHALLENGE IS TO
-- TO WRAP UP, IS ARTISTS DON'T ALWAYS SPEAK THE --
IT'S HELPFUL WHEN YOU HAVE LANGUAGE REGULATORS,
SOMETHING FAMILIAR WITH BOTH SIDES OF THE COIN.
>> THIS IS MINDY. THERE ARE A NUMBER OF
DEVELOPERS THAT WE ARE AWARE OF THAT, FOR EXAMPLE, WILL DO
LIVE-WORK SPACE AND THAT QUALIFIES SOMEHOW FOR SOME
SUBSIDIES, SOMETIMES CASH CREDITS.
ANOTHER THING IS IN HISTORIC RENOVATIONS WHERE YOU OFTEN
CAN'T FIGURE OUT WHAT TO DO WITH THE FIRST FLOOR, A
NUMBER OF THE -- A NUMBER OF DEVELOPERS I'M AWARE OF HAVE
MADE THE FIRST GROUND LEVEL VERY LOW RENT COMMERCIAL
SPACE, THAT IS, ARTISTS' LIVE-WORK SPACE OR ARTIST
SPACE BECAUSE VERY OFTEN SOMEONE WON'T LIVE ON THE
FIRST FLOOR AND YOU CAN SOMETIMES NOT FIND A
COMMERCIAL TENANT, SO IT'S A WAY TO GET MORE STREET
ACCESS, THE WINDOWS ARE OPEN, PEOPLE CAN SEE THE ARTIST
DOING THE WORK, WHICH ACTUALLY HELPS A LOT.
ANOTHER IS TO PARTNER WITH YOUTH ORGANIZATIONS THAT DO
ART AND TO HONESTLY DECORATE THE DEVELOPMENT'S HALLWAYS
WITH ALL OF THE WORK THE KIDS DID, VERY OFTEN ABOUT THEIR
OWN EXPERIENCE OF LIVING IN THE COMMUNITY PRIOR TO THE
REDEVELOPMENT, AS PART OF THE REDEVELOPMENT OF THEIR OWN
ACKNOWLEDGMENT OF THE HISTORY OF THE COMMUNITY. 33
AND IT REALLY CREATES A SENSE OF PRIDE FOR A LOT OF THE
KIDS. SO THERE ARE SOME DEVELOPERS
WHO DO THIS WORK. IT JUST REQUIRES BEING A
LITTLE MORE THOUGHTFUL ABOUT IT.
>> AND THIS IS DAN, JUST TO -- I DIDN'T GET THE LAST WORD
IN HERE. AS PHAS REALLY TRANSFORM
THEMSELVES TO HAVING STEWARDSHIP OVER NOT JUST THE
HOUSING STOCK BUT THE BROADER NEIGHBORHOODS IN WHICH THEY
ARE SERVING, YOU LOOK AT WHAT SEATTLE HAS MANAGED TO DO,
ALSO AN EXEMPLAR WITH WORK HERE, THEY REALLY BROUGHT IN
NOT JUST ARTIST TOSS HELP THINK ABOUT THE PHYSICAL
SPACE, BUT REALLY UNDERSTANDING THAT ARTS ARE
KIND OF A CORE TO THE REGIONAL IDENTITY, AND THE
SENSE OF PLACE IN SEATTLE, AND NOT JUST IN ECONOMIC
TERMS, BUT IN SOCIAL CAPITAL TERMS, AND HAS REALLY DONE
INTERESTING WORK ON MULTIPLE LEVELS AROUND ARTISTS AND ART
STAKEHOLDERS IN THEIR REVITALIZATION.
>> IF I WERE TO MAKE A RECOMMENDATION TO ANY OF THE
PLANNING OR PROMISE GRANTEES, OR ANY OF THE GRANTEES,
REALLY, IS TO TRY TO FIND A NONPROFIT ARTS ORGANIZATION
IN YOUR COMMUNITY BECAUSE CHANCES ARE THEY WILL HAVE
SOME EXPERIENCE IN DOING THIS KIND OF WORK AND AGAIN TO
BRING THEM INTO YOUR PLANNING PROCESSES OR EVEN YOUR DESIGN
PROCESSES. >> THANK YOU.
THE NEXT QUESTION IS A GOOD FOLLOWUP TO THAT. 34
WHAT ARE YOUR EXPERIENCES IN TERMS OF DEVELOPING CULTURAL
ARTS DISTRICTS AND WITHOUT DISPLACING LOW INCOME
RESIDENTS. DISPLACEMENT IS A DIFFICULT
PROBLEM, AND ARE THERE ANY LESSONS YOU'VE LEARNED FROM
THE FIELD? THIS IS JASON.
[INAUDIBLE] >> WE ARE VERY CAREFUL TO SET
A PROJECT THAT IS DEEPLY ENGAGING IN THE COMMUNITY,
AND HOW ARTS FIT INTO THAT PICTURE, I THINK THERE ARE
LOTS OF EXAMPLES WHERE -- [INAUDIBLE.
[AUDIO] >> IF YOU ARE SPECIFICALLY
ASKING ABOUT A DISTRICT, THERE IS A PERSON AT CENTER
FOR THE ARTS, WHO IS WORKING -- WE HAVE GIVEN HER MONEY,
RESOURCES, -- >> [INAUDIBLE]
>> >> PROVIDENCE, IN THE STATE
OF RHODE ISLAND. IT'S AN INTERESTING STORY.
IT STARTED WITH A DOWNTOWN, WHEN THERE WAS NOBODY HERE,
WHICH OBVIOUSLY HAD ITS SORT OF OBJECTIVE.
BUT THEN OTHER COMMUNITIES THROUGHOUT THE STATE OF RHODE
ISLAND WENT TO THE LEGISLATURE AND PART OF THAT
-- >> [INTERRUPTION]
>> THERE'S A LOT OF NOISE ON THE TAPE.
I'M NOT SURE. PART OF WHAT THAT DISTRICT
DID IS PROVIDED TAX INCENTIVES LIKE LIBERATING
ARTISTS AND GALLERIES FROM STATE INCOME TAX.
OTHERS DECIDED THIS WAS A GOOD STRATEGY FOR DEVELOPING 35
THEIR DOWNTOWNS, AND THE SMALLER COMMUNITIES.
THEY PASSED LEGISLATION TO ALLOW THEIR COMMUNITIES TO DO
THE SAIL AND NOW WE PASSED A STATE LAW WHERE THE ENTIRE
STATE, ARTISTS ARE EXEMPT FROM STATE INCOME TAX, SALES
TAX, AND SO ARE THE GALLERIES.
SO IT REALLY HAS SPREAD TO PROVIDE CERTAIN KINDS OF TAX
INCENTIVES AND TOOLS FOR ALL COMMUNITIES THROUGHOUT THE
STATE TO BE ABLE TO ENABLE ARTISTS AND THE ARTS
COMMUNITY TO HELP EFFECT CHANGE.
>> THIS IS DAN. I WANTED TO ADD ON THAT I
THINK THE FUNDAMENTALS TO THAT QUESTION, AND THEN THE
PROCESS WE SEE PLAYING OUT HERE, IS THAT WE'RE REALLY
TALKING ABOUT MANAGING NEIGHBORHOOD CHANGE AND HOW
IS THERE A SENSE OF AGENCY AMONG THE STAKEHOLDERS, SO
THAT AS COMMUNITIES CHANGE, AS THEY WILL, HOW CAN THEY
HAVE A SENSE OF AGENCY AND OWNERSHIP, HOW THAT CHANGES
AND WHAT THE OUTCOMES ARE, AND JASON MENTIONED ARTISTS
ARE OBVIOUSLY CENTRAL TO THAT, BOTH IN THE POWER OF
THE WORK THEY BRING AND THEIR PLACE IN THESE COMMUNITIES.
SO WE TEND TO COME AT THAT QUESTION FROM A POSITIVE
PERSPECTIVE, WHICH IS ARTISTS CAN PLAY A TRANSFORMATIVE
ROLE, LESS FROM A DEVELOPER'S PERSPECTIVE, WHICH IS HOW
WITH HE CAN INJECT OUTSIDE ARTS STAKEHOLDERS INTO A
COMMUNITY THAT WE CAN SEE, FOR EXAMPLE, REAL ESTATE
CHANGES, PRICE CHANGES. THAT IS NOT OUR OBJECTIVE. 36
IT'S NOT THE PERSPECTIVE WE WANT TO BRING.
OBVIOUSLY, THERE ARE MANY INSTANCES WHERE WE'VE HEARD
OF THAT BEING THE CASE, BUT IN TERMS OF OUR PROGRAMMATIC
GOALS AND POLICY OBJECTIVES, IT'S VERY MUCH ABOUT CREATING
THAT PROCESS OVER TIME AS OPPOSED TO HAVE SHORT TERM
FIX TO COMMUNITY CHALLENGES. >> LET'S REMIND EVERYONE THAT
IF YOU ARE A CHOICE GRANTEE, YOU ARE TALKING ABOUT THE
LARGE NUMBER OF PERMANENTLY AFFORDABLE HOUSING, AND THAT
IS USUALLY LEVERAGING TAX CREDITS, WHICH ARE ANOTHER
CHUNK OF PERMANENTLY OR AT LEAST FOR 30 YEAR AFFORDABLE
HOUSING. SO THAT IT'S REALLY IN THE
CHOICE NEIGHBORHOODS WHERE YOU HAVE THE GREATEST
OPPORTUNITY TO INTEGRATE THE ARTS AND NOT HAVE
DISPLACEMENT, BECAUSE THE UNITS THAT ARE GOING TO BE
BUILT BACK ON IN THE NEIGHBORHOOD WILL BE LONG
TERM AFFORDABLE, 40 YEARS AND 30 YEARS.
SO IT'S A REALLY GREAT OPPORTUNITY TO MAKE THESE
PARTICULAR NEIGHBORHOODS CULTURAL CENTERS.
>> YEAH, AND BURT, IN DEFENSE OF ARTISTS, I'D LIKE TO MAKE
THE CASE THAT IT ISN'T ARTISTS THAT GENTRIFY
NEIGHBORHOODS, IT'S DEVELOPERS THAT GENTRIFY
NEIGHBORHOODS. >> THIS IS MARIA.
I WANT TO ADD THAT WHEN YOU HAVE A NEIGHBORHOOD THAT HAS
A STRONG CULTURAL IDENTITY, AND I DON'T MEAN THIS AS --
OR ONLY ETHNIC-SPECIFIC, OR WHAT HAVE YOU, BUT WHEN YOU 37
HAVE A PLACE THAT IS PALPABLE AND HAS ITS OWN STYLE, ITS
OWN FLAVOR, IF YOU WILL, AND THAT IS SOMETHING THAT IS
PRIZED AND VALIDATED, IT BECOMES MORE DIFFICULT TO TRY
TO ERASE THAT. SO I THINK THAT THERE'S A LOT
TO BE SAID FOR RAISING UP THE VALUE OF AUTHENTIC LOCAL
CULTURE, AND TO THINK ABOUT HOW TO MANAGE CHANGE.
>> THANK YOU MARIA. AND NOW WE HAVE ABOUT A
MINUTE LEFT. I WANTED TO GIVE DAN THE
OPPORTUNITY TO GIVE A CLOSING OR SUMMARY REMARK TO CLOSE
THE WEBINAR. >> THANKS JAMES.
THIS IS DAN MURRAY FROM NEA. SO YOU HAVE ALL HEARD I THINK
A PRETTY WIDE RANGING CONVERSATION TODAY, TO GIVE
YOU A FLAVOR OF THE POSSIBILITIES OF LINKING THE
PROGRAMS. I WANT TO THANK YOU ALL FOR
YOUR INTEREST. I SPEAK ON BEHALF OF THE
ENTIRE INSTITUTION AND NEA, IN SAYING THAT WE ARE PLEASED
TO BE PART OF THIS CONVERSATION AND WE KNOW THAT
OUR STAKEHOLDERS ON THE GROUND IN YOUR COMMUNITIES,
THERE THEY ARE GRANTEES OR NOT, VERY MUCH LOOK FORWARD
TO THESE KINDS OF CONVERSATIONS.
WE AT NEA WILL DO OUR PART WITH THIS DIALOGUE GOING
FORWARD. I BELIEVE JAMES THAT YOU ARE
GOING TO PUT ALL OF OUR CONTACT INFORMATION UP OR
DISTRIBUTE IT FOR FOLKS WHO HAVE QUESTIONS.
WE WELCOME THE FOLLOWUP, VERY MUCH WANT TO SEE THE 38
BEGINNING OF A SERIES OF CONVERSATIONS.
PLEASE LET US KNOW, THIS IS DEEP WITHIN OUR AGENCIES, OUR
POLITICAL LEADERSHIP, AND POLICY LEADERSHIP, VERY MUCH
CARES ABOUT THESE CONNECTIONS BEING DRAWN, EVEN MORE SO
GOING FORWARD. SO I WANT TO THANK YOU ALL
FOR YOUR INTEREST AND TIME AND LOOK FORWARD TO WORKING
WITH YOU IN SOME CAPACITY GOING FORWARD.
>> THANK YOU DAN. AND WITH THAT, I WILL CLOSE
THE WEBINAR AND ENCOURAGE ALL OF YOU TO COMPLETE THE
PARTICIPANT COMPLETION SATISFACTION SURVEY.
THANK YOU AND HAVE A GOOD AFTERNOON.