COMMUNITY AND CREATIVE LEADERSHIP INSTITUTE
Made possible thanks to the generous support of the Bush Foundation.
Intermedia Arts
| 2016
1
2
Community and Creative Leadership Institute
| IMPACT STUDY
ACKNOWLEDGEMENTS Many thanks to the CCLI alumni who so generously shared their experiences and gave their time to this effort. Thanks to Intermedia Arts Staff and the impact study team whose thoughtfulness and commitment shaped this initiative from its inception: William Cleveland, Lisa Dejoras, Wendy Morris, and Lisa Brimmer. We would also like to recognize former Executive Director, Theresa Sweetland, former Program Director, Julie Bates MacGillis, and co-founding faculty, Erik Takeshita, for your contributions to this work. Finally, thank you to the Bush Foundation, whose support made this study possible.
– BETTY EMARITA, Lead Evaluator – SCOTT CHAZDON, Evaluation and Research Specialist at University of Minnesota Extension Center for Community Vitality
Intermedia Arts
| 2016
3
COMMUNITY AND CREATIVE LEADERSHIP INSTITUTE:
THE CONTEXT
Intermedia Arts, a multidisciplinary, multicultural arts organization
and disciplines. Initially serving participants in the Minneapolis-St.
based in Minneapolis, Minnesota, commissioned this study to
Paul area, CCLI expanded regionally in 2011 to pilot communities
assess the impact of its Creative Community Leadership Institute
in Fargo-Moorhead and Duluth-Superior.
(CCLI). CCLI is on the cutting edge of an emerging field that combines arts, culture and community development. The field is
The program is organized into cohorts of 14-25 participants.
so new that its name has not yet been canonized, although it has
Participants are activists, changemakers, and community leaders
national and international adherents, practitioners, and a significant
who come from a variety of disciplines and sectors. The program
body of research. In 2010 the field was framed as creative
is structured as an experiential and team-based learning process,
placemaking in a white paper for The Mayors’ Institute on City
which spans either 3, 4, or 5 months depending upon the
Design, a leadership initiative of the National Endowment for the
location. The curriculum emphasizes arts-infused learning and
Arts in partnership with the United States Conference of Mayors
critical inquiry focused around local and national exemplars of
and American Architectural Foundation. The field is also referred
arts-based community development.
to as community cultural development, social practice/sociallyengaged practice, cultural animation, creative community building,
Each cohort consists of active community artists, organizers,
community arts and arts for social change. Intermedia Arts refers
and developers whose work and practice enriches organizations,
to the field as arts-based community development.
neighborhoods, and the wider community. Cohort members engage in an intense exploration together of arts-based
CCLI defines arts-based community development (ABCD) as arts-
community development, including reading and study, individual
centered activities that contribute to the sustained advancement
self-reflection, and group-directed activities. The program’s
of human dignity, health and/or productivity within a community.
100-120 hours are divided equally between on-site sessions and
These include arts-based activities that:
individual or group assignments outside of sessions. Each session is held at a different site which exemplifies arts-based community
•
educate and inform us about ourselves
development and serves as a case study in the curriculum.
and the world Based on the fundamental belief that the future health of •
inspire and mobilize individuals or groups
•
nurture and heal people and/or communities
•
build and improve community capacity
strategies. The program is designed to leverage local action for
and/or infrastructure
systemic impact; to strategically weave networks for change; and
communities demands innovative, cross-sector leadership at every level, the intent of the program is to build networks of capable, innovative, cross-sector leaders and partners who can effect change in complex environments through arts and cultural
1
to enhance capacity to navigate dynamics of power, rank, race, CCLI was first established by Intermedia Arts in 2002, when
and privilege.
the program was known as the Institute for Community Cultural Development (ICCD). Co-created with founding faculty members
Since its beginning, 231 community leaders in the Twin Cities,
William Cleveland, Wendy Morris, and Erik Takeshita—some of
Duluth-Superior, and the Fargo-Moorhead areas have completed
the foremost practitioners and thinkers in the field—it was one
the program.
of the first programs of its kind in the nation. CCLI provides comprehensive training and support for leaders working at the intersection of the arts and community change across sectors
4
Community and Creative Leadership Institute
| IMPACT STUDY
This framework was developed by the Center for the Study of Art & Community based on a community arts rubric conceived by Maryo Ewell. 1
FIGURE 1. THEORY OF CHANGE GRAPHIC 1.
Diversity (generational, experience in the field, geographic, gender, cultural, learning style, racial, leadership type/ role, sector/field/artistic discipline): What perspectives and
ing CD train New AeBw groups & for n
OMMUNITY
networks will this applicant bring to the cohort?
able, A more Cap uitable C q E Healthy,
=
2.
Ripeness (readiness and potential to apply the CCLI curriculum): How strong is this applicant’s need to access
→
what CCLI has to offer?
=
ctive # local effe ioners ABCD practit
&
New local CCL NETWORK
→
3.
Agency and potential (the applicant’s potential for community leadership through arts-based community development): What is this applicant’s potential to influence
+
100 hours CCLI curriculum
+
CCLI learning NETWORK
com creative oup local 1 select gr
→
community change through arts and cultural strategies, and/or to impact the regional environment for arts-based community development?
el m. dev
opers
4.
Capacity to learn (receptivity to learning in a cohort setting): Is this applicant an agile and assertive learner? How capable is this applicant of creating meaning from disparate sources of information?
5. CCLI: Creative Community Leadership Institute
Quality of engagement (the factors that the applicant brings to the cohort interactions and discourse): How excited,
ABCD: arts-based community development
challenged, stimulated, and enthusiastic will other cohort
CCL: creative community leadership
members be to engage with the applicant? Participants are chosen who have leadership experience in their respective fields, active community relations, and their
In order to understand the impact of the CCLI program, it is
own distinct networks. They are pulled intentionally from a
important to know how program participants were recruited
broad array of sectors and disciplines, including advocacy,
and how the cohorts were formed. During the early years of the
community-engaged arts (including performing, literary, visual,
program, Intermedia Arts used its extensive interdisciplinary
media, and interdisciplinary arts), community organizing, design,
connections, its cross-cultural networks, and community
economic development, education, environmental justice, faith
credibility to publicize the program. Potential participants were
communities, health care, housing, public policy, public systems,
then nominated to apply by other practitioners, administrators,
racial justice, urban planning, and youth development. They
educators and funders; potential participants could also self-
come from a multitude of cultural communities, neighborhoods,
nominate. All candidates for the program completed a rigorous
identities, and orientations.
application and interview process, which is still the case. Now that the program is well established, most applicants self-nominate
Some participants are chosen whose influence stems from their
after learning about the program from colleagues or through a
positional authority within institutions; others are chosen whose
broad online distribution of a call for applicants.
influence stems from their skill as extraordinarily accomplished grass-roots organizers. Elders are valued cohort members, as
Each cohort is formed by a selection process that is essentially
well as energetic young “sparkies”. In essence, the cohorts
an art form in itself. The selection process considers the variety of
are containers to maximize the potential for new learning about
perspectives, qualities, and balance of its members. Applicants are
strengthening communities through: arts and culture, cross-
evaluated not just as individuals, but according to what they would
sector fertilization across networks, building and strengthening
contribute to the cohort in the following areas:
relationships, reflection, and self-revelation.
Intermedia Arts
| 2016
5
METHODOLOGY FOR ASSESSING IMPACT This impact study was commissioned in the fall of 2014 to document the changes in the lives of program alumni, and
•
An online survey of all alumni, along with “heat maps”,
the changes that alumni have created in their communities
showing where alumni activities were most heavily
since the program began in 2002. These communities
concentrated in the three metropolitan areas,
could be geographic, place-based, cultural, and/or based
Minneapolis-St. Paul, Duluth-Superior, and
on shared interests (CCLI defines community as groups of
Fargo-Moorhead.
people with common interests defined by place, tradition, •
intention, or spirit).
Mapping the ripple effects of activities, ideas and relationships for one cohor
The overall assessment questions were: 1.
•
A social network analysis of alumn
•
Interviews with a small, selected sample of alumni
How has the ICCD/CCLI impacted individual participants, their interpersonal relationships, and the communities in which they live and work This mixture of traditional and creative assessment and
2.
What elements of the program have been the most
evaluation methods enabled us to highlight significant and
useful, or least useful in promoting arts-based
meaningful changes for individual program participants, their
community development
relationships with each other, and their communities. It also revealed alumni perceptions about the most and the least
3.
What insights do alumni have about future direction for the program?
effective aspects of the program. Patton, M. (1997). Utilization-focused evaluation: The new century text (3rd Ed.). Thousand Oaks, Calif.: Sage Publications. 2
Our approach to the study was to form a team of external consultants and Intermedia Arts staff that offered multiple perspectives, a deep knowledge of the history and evolution of the CCLI program, and knowledge of the field. Led by Betty Emarita, an ideation and strategic
OUR FINDINGS
ONLINE PROGRAM IMPACT SURVEY
change organizational development consultant, the team consisted of Scott Chazdon, program evaluator, University
An online survey was conducted with 190 program alumni
of Minnesota Extension; Wendy Morris, director, Creative
for whom valid e-mail addresses were available. The survey,
Leadership programs at Intermedia Arts; Lisa Dejoras and
which garnered a 44.1% response rate, included questions
Lisa Brimmer, Creative Leadership programs managers; and
on the following themes:
William Cleveland, director, Center for the Study of Art and Community.
•
Aspects of the program that had the greatest value for participants
Our strategies for collecting data were informed by Michael Quinn Patton’s definition of impact evaluation to include
•
A series of closed-ended questions in which participants
both, ”direct and indirect program impacts, not only on
were asked the extent to which the program had led to
participants, but also on larger systems and the community.”2
their personal growth
We chose methods, and developed or adapted instruments that could capture the varied experiences of alumni at different levels of engagement. These included:
•
A series of questions regarding the extent to which participation in the program contributed to multisectorial changes in participants’ communities
6
Community and Creative Leadership Institute
| IMPACT STUDY
•
Places in the three metropolitan areas (Minneapolis-Saint Paul, Duluth-Superior, and Fargo-Moorhead) in which program participants had conducted arts-based community development work (Heat Map), with open-ended questions to capture more detail about their work
•
Recommendations for improving the program
VALUABLE ASPECTS OF INTERMEDIA ARTS’ LEADERSHIP PROGRAM As part of the online alumni survey,
FIGURE 2: RANKING OF ASPECTS OF CCLI (PERCENTAGES OF RESPONDENTS) TOP RATED
respondents were asked to rank from one to
2ND
3RD
4TH
5TH
6TH
Development of a robust network of colleagues
six aspects of CCLI they found most valuable, with one being the most valuable and six
47
14.5
7.2
9.6
10.8
10.8
being the least valuable. As Figure 2 indicates, 47% of the respondents ranked development
Advancing your own leadership journey (i.e., exploring your place
of a robust network of colleagues as the most
and future path in the field of arts-based community development
valuable aspect of CCLI, with 68.7% ranking
it among their top three choices. Twenty-eight
23.2
28
20.7
9.8
2.4
15.9
percent ranked advancing their leadership journey in the field of arts-based community
Knowledge of the field of arts-based community development
development as the most valuable, with 71.9% ranking it among their top three.
15.7
Developing their knowledge of the field of arts-
12
21.7
16.9
14.5
19.3
Using arts-based approaches for communication and learning
based community development was ranked first by 15.7%, with 49.4% ranking it among
7.2
20.5
20.5
18.1
22.9
10.8
their top three. Using arts-based approaches for communication and learning was ranked
Skills and tools for developing and sustaining productive partnerships
first by 7.2%, with 48.2%, including it in their top three. The program aspects that
2.4
15.7
14.5
22.9
19.3
25.3
received the lowest ranking were strategies for advancing community discourse, and gaining skills and gaining skills and tools for developing and sustaining productive
Strategies for advancing community discourse and organizing 13.3
15.7
22.9
30.1
18.1
partnerships
Intermedia Arts
| 2016
7
IMPACTS ON PERSONAL DEVELOPMENT As part of the online program impact survey, respondents were
Respondents also gave examples of the impacts
also asked to respond to six statements pertaining to ICCD/CCLI’s
CCLI has had on their personal development:
impact on their lives. Respondents used a four-point scale where 1 meant “not at all”, 2 meant “to a slight extent”, 3 meant “to a
•
The experience helped me to learn new
moderate extent”, and 4 meant “to a great extent”. Figure 2 shows
strategies for accomplishing goals I have
how participants responded to each personal impact statement. The
long been working toward. It has helped me
vast majority of respondents reported at least a moderate level of
solidify a much broader network of potential
impact for five of the six impact statements. Slightly more than half the
collaborators, though staying current with
respondents reported they had not continued to be actively engaged
the busy members of the network has been a
with their cohort members since the program.
huge challenge. •
I learned how to sit in great discomfort, how to listen, observe, be present in my body, how to speak up and how to articulate hugely complex ideas in a large, smart, intimidating
FIGURE 3: ICCD/CCLI’S IMPACTS ON PERSONAL DEVELOPMENT To Great Extent
Moderate Extent
group. I learned that it’s okay not to know and
Slight Extent
that being authentic and vulnerable can be
Not at all
good. I am likely to take part in discussion about ideas and issues I encountered during my involvement in the program. 43.8
41.1
•
15.1
[More than four years after] completion of the program, CCLI learnings still bubble up to the
0
surface. Things I may have forgotten about, or didn’t access during my time in the program
I have been actively involved with the issues, ideas, and strategies I encountered through the program. 44.6
33.8
20.3
have emerged from my toolkit, allowing me to apply as necessary—in a real, authentic, and
1.4
in-the-moment way. I have been able to apply some of the things I learned through the program to good effect in other situations.
•
The biggest impact was on being able to conceive of myself as an artist, to claim the
43.2
40.5
12.2
4.1
power that comes with it and to move forward in greater levels of confidence: both about the
The organization(s) I have worked with since my involvement in ICCD/CCLI has/have benefited significantly from my participation in the program. 32.9
45.2
17.8
4.1
27
13.5
potential to contribute. Several respondents stated that the growth they had gained from CCLI came mainly from their
I have increased my appreciation for the opportunities and challenges that can emerge from boundry-crossing engagement and collaboration. 54.1
importance of my voice and the value of my
interaction and work with other program fellows, and less from the curriculum. This feedback 5.4
highlights the critical importance of the recruitment process and the intentional way in which cohorts are formed. Cohorts are composed of people with
I have been actively involved with people I worked with during the program 25.7
23
43.2
rich personal and professional experience. Their 8.1
expertise is often developed across disciplines, within and outside of the accepted cannons of a particular field.
8
Community and Creative Leadership Institute
| IMPACT STUDY
FIGURE 4: ICCD/CCLI ORGANIZATIONAL AND COMMUNITY IMPACTS
IMPACTS ON COMMUNITIES
To Great Extent
The alumni survey included several types
Moderate Extent
Slight Extent
Not at all
I’ve built trust among people and organizations in my community (social capital).
of questions about the ways the program led participants to make changes in their
38.2
50.7
11.6
1.4
communities. One series of questions asked I’ve helped strengthen networks among people and organizations in my community (social capital).
about changes that participants had made since participating in ICCD or CCLI, and was organized
38.6
around the community capitals framework3, with items on human, social, cultural, civic, financial,
48.6
11.4
1.4
I’ve promoted cultural equity in my organization or community (social capital).
built, and natural capitals. Figure 4 displays the average responses among the program alumni to
39.4
39.4
18.3
2.8
these questions. I’m more likely to take part in discussions about difficult community or social issues (civic capital).
The greatest impacts reported tended to be on
34.8
items related to human, civic, and social capital. The top item, “I’ve taken on new informal or formal
40.6
20.3
4.3
I’ve taken on new informal or formal leadership posotions within my organization or community (human and civic capital).
leadership positions,” is an example of both human and civic capital built by the program. The next
57.1
two items, “I’ve helped strengthen networks” and “I’ve built trust” are both representative of social
24.3
14.3
4.3
I’ve promoted efforts to engage broader participation in community and public life (civic capital).
capital. Even the lowest scored items such as “I’ve helped conserve or protect natural resources
45.7
31.4
17.1
5.7
in my community,” or “I’ve strengthened or helped improve the physical infrastructure of my
I’ve strengthened collaboration among organizations to work on challenging issues facing my community (social capital).
community” had over three-fourths of respondents
29.4
reporting at least a slight extent of impact.
39.7
25
5.7
I’ve strengthened cultural events in my community (social capital). 37.1
28.6
24.3
10
I’ve become more comfortable voicing my opinion to public or political leaders (civic capital). 25
41.2
23.5
10.3
I’ve strengthened efforts to promote mental or physical health in my organization or community (human capital). 21.2
39.4
25.8
13.6
I’ve strengthened the financial condition of my organization or my community (financial capital). 29.4
26.5
25
19.1
I’ve helped conserve or protect natural resources in my community (natural capital). Flora, C., Flora, J., & Fey, S. (2004). Rural Communities: Legacy and Change (2nd ed.). Boulder, CO: Westview Press; Emery, M. and Flora, C. (2006). “Spiraling-Up: Mapping Community Transformation and Community Capitals Framework.” Community Development 37, 1: 19-35. 3
19.7
27.3
30.38
22.7
I’ve strengthened or helped improve the physical infrastructure of my organization or community (built capital). 26.9
16.4
32.8
Intermedia Arts
23.9
| 2016
9
Perhaps even more interesting than the numeric responses to
the square indicates the number of connections that each
these items were the open-ended comments that respondents
graduate of the program reported, e.g. the bigger the square,
typed when asked for examples of the ways their work had led
the more connections reported. The lines represent the
to organizational and community impacts:
specific connections among the alumni.
•
Our work, grounded in equitable food access, specifically
The maps show a tightly knit network of alumni across many
organic/whole foods, absolutely had a positive impact on
alumni. Many alumni reported knowing and having worked
the physical and mental health of those engaged in our
with people from both within and outside their cohorts. This
programs!
trend is especially evident among those whose training happened in the Twin Cities. It is less so among alumni from
•
Within the Collaborative for a Culturally Diverse Economy,
the two cohorts in Duluth-Superior and Fargo-Moorhead
I intentionally built a strong and diverse team of leaders
(See figure 5). Their connections appeared to be more limited
of color, bringing them to the table in a way that had not
to their respective regions.
been previously accomplished. •
Connected community art organizations to higher education resources.
•
FIGURE 5: OVERALL ICCD/CCLI ALUMNI NETWORK
Through Arts on Chicago, I have (with my partners) striven to build connections to the local businesses, education centers, neighbors through the arts.
•
Growing a forest and eliminating invasive species in my neighborhood
Most participants felt the program had spurred them to higher levels of community engagement. For example, 57% reported they had taken on new leadership roles within their organizations and communities “to a great extent.” Some participants (see the percentages in purple in Figure 4) commented the program did not necessarily add to their
2002 Cohort
strengths or abilities to influence some of these areas of community capital, often because they were already making a difference in these areas before participating in the program.
IMPACTS ON NETWORK DEVELOPMENT ONLINE SOCIAL NETWORK SURVEY As part of the social network survey, respondents were asked to identify fellow alumni whom they had met, known or collaborated with before, during and after the program. Out of the 195 alumni contacted, 72 responded—a response rate of 37% Figure 5 shows the evolution of this network over the years. Each graduate of the program is represented by a colored square. The color is based upon the cohort the graduate is from. The squares also vary in size. The size of
10
Community and Creative Leadership Institute
| IMPACT STUDY
2002-2003 Cohorts (2003 cohort ADDED – BLUE SQUARES)
2002-2004 Cohorts (2004 cohort added – yellow squares)
2002-2011 Cohorts (2011 cohort added – purple squares)
2002-2006 Cohorts (2006 cohort added – green squares)
2002-2012 cohorts (2011 Fargo-Moorhead cohort added – dark blue squares at left)
2002-2010 Cohorts (2010 cohort added – magenta squares)
2002-2013 cohorts (2013 Duluth-Superior cohort added – light blue squares upper left)
Intermedia Arts
| 2016
11
2002-2013 cohorts (2013 Minneapolis-St. Paul cohort added – light green squares)
2002-2014 cohorts (2014 cohort added – teal squares)
While the network maps are based on many types of connections (alumni who had met before the program, alumni who met during the program, alumni who have collaborated since the program), it is powerful to focus on just the network of those who reported collaborating since participating in the program. As Figure 6 illustrates, the overall alumni collaboration network was dense and extensive, branching across cohorts. In general, there were at least one or two individuals from each cohort who played bridging roles in this process. These core actors are the social influencers who are making a difference in the density of the collaboration network.
FIGURE 6: OVERALL ICCD/CCLI ALUMNI COLLABORATION NETWORK
12
Community and Creative Leadership Institute
| IMPACT STUDY
IMPACT HEAT MAPS
FIGURE 8: IMPACT HEAT MAP FOR DULUTH-SUPERIOR
Based on the volume of clicks on particular areas, the survey software produced “heat maps” that graphically display the areas of most intense activities by ICCD/ CCLI alumni. Figures 7, 8, and 9 show the heat maps of Minneapolis-Saint Paul, Duluth-Superior, and FargoMoorhead. The brightest red shows areas where close to 30 alumni clicked on the map. The color legend underneath the maps show the colors associated with the frequency of clicks. For example, in Figure 7 significant impacts appeared to center primarily within the downtown areas of Minneapolis and St. Paul, and along the light rail line connecting the two cities. Many CCLI alumni were core to Irrigate, a three-year creative placemaking initiative, designed in response to the disruption by a major construction project through the heart of Saint Paul. Irrigate, created in partnership with Springboard for the Arts, the City of Saint Paul, and Twin Cities Local Initiatives Support Corporation (LISC), with funding provided by ArtPlace, held placemaking workshops for artists, facilitated partnerships between artists and businesses, and funded small scale community arts projects that spanned the six miles of the Central Corridor Light Rail Transit line in St. Paul during the years of its construction.
FIGURE 9: IMPACT HEAT MAP FOR FARGO-MOORHEAD
FIGURE 7: IMPACT HEAT MAP FOR MINNEAPOLIS-ST. PAUL
Intermedia Arts
| 2016
13
As Figure 10 shows, alumni activities were not limited to Minnesota. Participants reported having projects in 20 states since completing the program, representing every region of the mainland.
FIGURE 10: NATIONAL LOCATIONS WHERE ALUMNI HAVE CONDUCTED WORK OR PROJECTS
In addition, program participants reported having conducted projects in a total of 20 countries across six continents since completing the program. They include: Australia, Bahrain, Brazil, Canada, Caribbean Islands, Czech Republic, Denmark, France, Greece, Hungary, Ireland, Italy, Japan, Kenya, Mexico, Netherlands, Sierra Leone, South Africa, Thailand, and the United Kingdom.
FIGURE 11: COUNTRIES WHERE ALUMNI HAVE CONDUCTED WORK OR PROJECTS
14
Community and Creative Leadership Institute
| IMPACT STUDY
Questions for Invited Guests: •
What is a highlight, achievement, or success of former CCLI participants in your community or with your organization?
•
What connections in the community – new and/or deepened – have you observed as a result of the CCLI?
After participants had interviewed each other, they were asked to report some of the items they had heard. Their reports were captured using a mind mapping software program and projected onto a screen. The evaluator then worked with
CASE STUDY: RIPPLE MAPPING OF THE 2010 COHORT To focus on the range of impacts produced within a single cohort, the evaluation team conducted a Ripple Effect Mapping (REM) session with a portion of the 2010 CCLI cohort. REM is a participatory group method for evaluating the impact of complex programs or collaboratives. The method engages program stakeholders to visually map the performance story resulting from a program or complex collaboration. It combines elements of appreciative inquiry, mind mapping, group interviewing, and qualitative data analysis in its process. The evaluation team invited a dozen members of the 2010 CCLI cohort, who were given the option of bringing a guest who was familiar with the impacts of their work. The invitation was to participate in a structured group discussion and mapping process. More information about the process can be found at
Through follow-up questions from the evaluator, participants brought forward more detail on some of the effects and how they had been catalyzed by the program. After the Ripple Effect Mapping session, the evaluator conducted supplemental interviews with some of the participants to capture additional details. The core themes of the Ripple Effect Map provided richer context and echoed many of the themes that emerged from the online survey and the data from the social network analysis (See Appendices 16A-E - Sample of Creative Community Leadership Institute 2010 cohort). Four themes the CCLI program had on participants:
RIPPLE MAP INTERVIEWS Participants in the session were asked to interview each other using two questions. The questions asked of the alumni were slightly different from the questions asked of the invited guests.
•
Promoted deep connections which generated new forms of collaboration
(APPENDIX 16A) During the reflection discussion after appreciative inquiry interviews, the group suggested a core effect
Questions for Program Alumni:
of the program was the sense of solidarity
What is a community-based highlight, achievement, or success you had based on your involvement with the CCLI?
•
types of “community impacts” they were reporting.
emerged from the process regarding the impact
http://blog-ripple-effect-mapping.extension.umn.edu/.
•
the group to identify core themes for the different
What connections in the community – new and/or deepened – have you made as a result of the CCLI?
and trust created among members of the cohort. This section of the ripple map ended up with the most detail. For the group, the theme represented the core meaning of participation in the program. Several participants asserted that they wanted to see the word “love” placed on the map. One
Intermedia Arts
| 2016
15
participant commented that these deep connections generated new forms of collaboration, and this section
•
During the mapping discussion, participants were asked
of the mind maps shows some examples: the Bedlam
what, if any, aspects of the program were in need of
Theater becoming open to new audiences, collaboration
improvement. An additional branch of the ripple map
among alumni to write and act in an original play, a
focused on these challenges (APPENDIX 16E).
pop-up theater, and the creation of YO MAMA’s Art of
The comments participants gave focused on the desire
Mothering Workshops in north Minneapolis.
for more resources, racial dynamics, and the lab group experience (an aspect of CCLI in which small groups
•
Deepened commitment to racial equity work
of participants collaboratively design an arts-based
(APPENDIX 16B) Several participants described
community development project). Comments included:
a deepened commitment to racial equity work, with
concerns that the training should be delivered more by
examples ranging from work in philanthropy to increased
participants and less by outside experts, that raising funds
funding support for equity-focused artistic work to cross-
is a crucial barrier, that group projects were not always
cultural sharing between Hmong and Native American
structured well, and that conversations about race need to
youth. Participants also mentioned cross-cultural sharing
be more complex.
efforts in neighborhood organizations in Minneapolis and St. Paul. One important branch in this part of the ripple
There should not be a division between “experts” and [CCLI]
map focuses on the Bedlam Theatre, which linked to East
“participants.”
African audiences in its West Bank location, opened a
•
second theater in St. Paul, and engaged program alumni
[Labs] could have been more practical and formatted in a less
in its Ten Minute Playfest.
rigid format.
Strengthened leadership skills for community building
[I would be] curious to know how to create learning that isn’t
(APPENDIX 16C) Participants described how they
just white people learning from people of color.
strengthened a wide range of leadership skills as a result of the program. These ranged from increasing conflict
[Lab] Activity should have led to something that can be
management skills and network building to incorporating
implemented, instead of purely imaginary.
specific activities from the curriculum, like “the stick exercise,” into their own leadership development
Individual artists are not nonprofits, so it’s hard for them to get
practices. Several participants reported an increase in
any funds for their highly engaged work.
their own confidence when in community settings and an increased ability to feel comfortable when speaking hard truths—the absence of which can threaten community building work. •
Generated personal and professional growth
(APPENDIX 16D) Participants described a range of ways they had strengthened their voices as practitioners
Thirty-minute interviews were conducted with a subset of CCLI
of arts-based community development and/or as artists
participants. The interviewee list was compiled by program staff
as a result of the program. One participant reported how
to reflect different perspectives. Potential interviewees came
much she appreciated having opportunities to speak and
from a variety of cohorts, regions, and cultural communities.
be heard, which led her to gain confidence in community
They included alumni with positional authority within established
building work. Another participant highlighted how the
institutions as well as alumni with grassroots and community
program gave her the opportunity to showcase her work
credibility. Forty participants were contacted, and 10 agreed to
as well as continue as a guest presenter in later cohorts
be interviewed, a response rate of 25%.
of the program.
16
ALUMNI INTERVIEWS
Community and Creative Leadership Institute
| IMPACT STUDY
The interviews supported the data generated by the online survey and the network map. Interviewees stressed the value of the networks that they were introduced to through CCLI. I need community. It feels hard to be alone...not knowing if the work is effective or not. We have to make ongoing efforts to know about each other’s work. I’ve built real connections with some people [in the cohorts], one moved to the Maryland area. It turned into real friendship. It’s given me another community of people...A radical and diverse community that I greatly value, and a great place to build the network. Interviewees felt more affirmed and supported in their work by being introduced to frameworks and vocabulary used by other practitioners in the field. During the program, the revelation was that other people are also doing this work. [CCLI] gave me a home base in a new way and was very grounding for my work. It helped me to name what I do a little more. CCLI gave us a common frame of reference! …Seeing other people bridging and moving through different ways of doing and being, across sectors that didn’t overlap. This was an interdisciplinary process where that was the norm. It was helpful to think of the intangibles of what I’m doing as real work, not as prelude to the real work. Through partnerships, the interviewees were inspired to take on larger, more impactful projects that had the potential to change a community, an organization, or a region. I’m used to working in open ended groups. This expanded that. Even getting rid of the word “art”. It made me think about how we came together to collaborate, because the outcome isn’t necessarily the product, but the process.
Intermedia Arts
| 2016
17
Creative CityMaking…definitely impacted the City of Minneapolis
Interviewees also gave a more nuanced interpretation of the
and the community. We brought youth into planning and political
kinds of skills they would value moving forward. Most were
processes. We had interns with the historic society, studying the
entrepreneurial—even when based in institutions. They were
history of Minneapolis through the art. Their studies informed the
greatly concerned about the need to raise resources to realize
plan on what the city should prioritize for historic preservation.
their vision, to implement projects, and for their own wellbeing.
[We’re] examining historical injustices and provocative ideas.
If I were creating a document or product there could be
We’re trying to swing the door open, and whoever comes
funding, but making more social capital across differences is not
through is welcome. We’re trying to plan for a summer of new
supported…I have to work as an unpaid contribution.
theatrical work. Not just open the door, but to reach out across the state. We want the final selection to look like the diversity of
There are clear categories of funding for artists, but no sustained
the state.
funding for community organizing or community building.
I was successful in getting the arts council to look at the
How do we sustain and resource the community side of
programming and the ecosystem… Looking at what the artists
community development?
and the creative economy look like. I’d just say [I need] some time and capital…money and time. The presence of the CCLI activity in town and media coverage helped give some impetus…There has been a lot of talk about
Information on how to balance fundraising and programming.
art and economic development. Not many people deny it now.
You have to grow both hand in hand. When you work so hard
Politicians and the business community don’t question it. CCLI
to raise the money, it’s hard to do the programming. [When
pushed this in a variety of different fields.
there are] no accounting department, or technical writers…No support…It gets really hard…Helping people to know how to
There is more interest in Native art. Mill City now includes
raise funds and what that means for programming, and how to
a Native piece and in places around the river front, and in
get boards engaged in fund raising.
Northern Spark. We need to grow in [knowing] how to manage projects Interviewees gave specific suggestions for how they would like
successfully, how to scale projects into programs, and how
to see the field of arts-based community development evolve.
to replicate.
More access to long-term funding and more consistent funding. [In Duluth] We have the people and the expertise, the public sector, and the Chamber willing to work with us. We have
WHY ARE THESE FINDINGS IMPORTANT?
the pieces, and we need to pay people to make it a full time
The focus of CCLI is to foster healthier, more capable, and
commitment. It will lead to its own economic engine.
equitable communities through arts and cultural strategies. As expressed by William Cleveland, a CCLI co-founder, at
Make the case for localization. What’s sort of neat about the
a presentation for Animating Democracy (https://prezi.com/
arts are the jobs that can’t be outsourced. It’s locally based,
kss2k2gcowa1/copy-of-animating-democracy-abcd-ecosystem/),
and dollars circulate more within the community…where arts
“Humans must cooperate to survive….Art-making has evolved as
and economic development can come together to build local
a primary stimulus for human cooperation.” By their nature, arts-
economies and build a sense of place.
based approaches to community transformation help develop and/or unleash the very skills that are most needed at this time.
Building on what people value and not having them pushed
The structure of CCLI is designed to cultivate those skills while
out…That conversation doesn’t happen nationally and
cultivating authentic relationships.
internationally. Bringing in best thinkers and leaders in the community regarding diversity, and figuring out systems that will
Arts-based community development, as a field, is expanding
work for the majority of people.
on the crest of a wave of unprecedented change in the national
18
Community and Creative Leadership Institute
| IMPACT STUDY
landscape. Locally, regionally, and nationally, structural economic changes, geo-political shifts, and profound demographic
•
changes are making visible the inadequacies of conventional
In Minnesota, millennials outnumber baby boomers, and 1 in 5 millennials is a person of color.
decision-making processes. The technology that connects us also divides us into narrower interest groups. There is a
•
The income of Minnesota millennials age 16-24 in 2012 is
compelling need for better ways to make progress on the
over 20% lower than the income of baby boomers in that
issues people care about, to work more productively across
age group in 1980.
our differences, and to foster healthier, more capable and more equitable communities.
•
By 2030, for every retirement-age Minnesotan, it is likely that there will only be 2.5 working-aged adults, with 2
Much of our procedural infrastructure for decision-making,
actually employed in the paid workforce.
however, is rooted in the late 1940s and 1950s when Minnesota, the United States, and the world in general looked quite different.
In order for government agencies, institutions, and businesses to
The health of federal, state, and local economies—as well as
address these economic and demographic realities, they will need
families and communities—now depend upon how effectively
different ways to engage people and the communities in which
decision-makers can work across differences to respond to new
they live and work. New and more inclusive narratives, concepts,
economic and demographic realities:
and strategies will have to be developed. The ability to navigate across large divides, find common ground, and move forward
•
Today, the United States’ economic growth is highly
together will be essential skills. These are the skills that at the
interconnected, global in nature, and being driven, to
center of CCLI training and programs.
a great extent, by new ethnic markets and emerging international markets. Helmsletter and Tigan, Six Surprising Trends about Minnesota’s Millennials. Compass Project, March 1,2014. http://www.mncompass.org/trends/insights/ 2014-03-01-minnesota-millennial-trends. 6 Ibid. 7 Helsmsletter, Craig. Minnesota’s Aging Population: Prepare for Lift Off. Community Matters, Wilder Blog, Aug 26, 2014. 5
•
A large and growing percentage of the nation’s population are people of color whose cultural roots are not predominantly European or Euro-American.
Intermedia Arts
| 2016
19
TRANSFORMATIVE IMPACT
Creative CityMaking began in 2013 with support from ArtPlace,
Examples of the transformative impact CCLI has had upon individuals, organizations, and institutions were found at several levels: neighborhood, city, national, and international.
a 10-year collaboration among a number of foundations, federal agencies, and financial institutions. The collaborative works to position arts and culture as a core sector of comprehensive community planning and development in order to help strengthen the social, physical, and economic fabric of communities. Following a highly successful demonstration
INDIVIDUAL TRANSFORMATION
year, Creative CityMaking drew over $1 million of investment YO MAMA’S Art of Mothering Workshop
from private, federal, and municipal sources including the
Amoke Kubat, a member of the 2010 cohort, created YO
Kresge Foundation, the National Endowment for the Arts, and
MAMA’S Art of Mothering Workshop for mothers of all ages.
the City of Minneapolis. The program has expanded from one
Located in north Minneapolis, it is not, by Amoke’s insistence,
department in 2013 to five departments across the
a nonprofit organization. In fact, it defies categories and
City in 2015.
description. YO MAMA exists as a creative space in which Amoke invites other mothers to support one another as sisters.
CCLI alumni currently serve on artist-City project teams,
This intergenerational group of elders and younger mothers
in program direction, program management, project
nurture each other, heal, and transform themselves while
management, and documentation roles. They are support staff
making art in a 10-week workshop.
and trainers/facilitators for the Creative CityMaking Institute, a year-long series of cross-departmental learning events for
One of the participants, Raelene Ethel Ashe, began her healing
systems change through arts-based community development.
journey from poverty and homelessness. After attending a
Through Creative CityMaking, Intermedia Arts has adapted
workshop and becoming part of the circle of mothers, Raelene
elements of the CCLI curriculum and put them into practice
credits YO MAMA for her transformation. She is now the
in a carefully considered, highly productive interface between
co-owner of The Art Shoppe at the Midtown Global Market.
City departments and communities.
Amoke related that through participation in CCLI she herself gained confidence as an artist, which led her to act with more power and impact in her art, as well as in other realms.
THE VIRAL SPREAD OF CCLI CONCEPTS NATIONALLY AND INTERNATIONALLY CCLI alumni are spreading arts-based community development
TRANSFORMING SYSTEMS
concepts and ideas virally in their work nationally and internationally. While analyzing the impact of those ideas
Creative CityMaking Minneapolis Many CCLI alumni play key roles in Creative CityMaking, a collaboration between Intermedia Arts and the Arts, Culture and the Creative Economy program of the City of Minneapolis. Creative CityMaking is a multi-year initiative that pairs staff in City of Minneapolis government departments with experienced
was beyond the scope of this work, alumni credited CCLI with helping them apply and share arts-based community development approaches to community development and training. Examples:
community artists to advance the City’s goal of eliminating economic and racial disparities. This “One Minneapolis” goal
•
A graduate of the program uses ICCD/CCLI concepts and tools in arts-based civic engagement with an
is focused on ensuring that all residents can participate and
organization that is active in East Africa and the
prosper. Creative CityMaking develops new arts-based, field-
Caribbean.
tested approaches that engage traditionally underrepresented communities and stimulate innovative thinking and practices for more responsive government. This work is increasing the capacity of the City to address inequities in political representation, housing, transportation, income, and race.
•
ICCD/CCLI concepts and tools have been useful to a graduate of the program who works with an international group of scholars, practitioners, community leaders, and artists to map the pasts of traumatized communities and
20
Community and Creative Leadership Institute
| IMPACT STUDY
contested lands, and their impact on present-day relations.
The data and analysis in this study are a snapshot of the
Projects have been carried out in the United States, the
experiences of alumni which can help CCLI program staff,
United Kingdom, and Europe.
designers and faciliators determine what aspects of CCLI are working well, what can be improved, what could be eliminated,
•
•
A graduate of the program who coordinates major
and what could be added. To guide CCLI’s future direction, data
national and international conferences on organizing, and
from the survey, network assessment, interviews, the Ripple
coordinates communities of practice in Europe and the
Effect Mapping, and comments made by participants provide
United States, uses facilitation and organizing techniques
specific and insightful responses to the three questions on
learned at ICCD/CCLI.
which this study focused:
A graduate of the program uses the ICCD/CCLI training
1.
How has the ICCD/CCLI impacted individual participants,
concepts as a global scholar participating with a multi-
their interpersonal relationships, and the communities in
campus initiative to prepare the next generation of globally
which they live and work?
competent citizens. The initiative is sponsored by an association of state colleges and universities.
Brief: ICCD/CCLI has had significant impact on alumni, particularly in their ability to work across boundaries, continue
•
•
Tools learned at ICCD/CCLI were useful to a graduate of
involvement with issues and strategies they encountered in the
the program while coordinating an exchange program for
program, and in their capacity to apply things they learned in
educators from a European country, between its museums
the program to other situations. ICCD/CCLI alumni have been
and American museums. The program featured projects in
engaged in projects in their home communities, in 20 states, 20
both countries.
countries, and six continents.
Case studies from ICCD/CCLI were useful to a graduate of
2.
What elements of the program have been the most useful,
the program working in southern Africa. The alumni used
or least useful in promoting arts-based community
these examples as part of a master’s degree thesis on the
development?
use of arts and creative strategies as a tool for community development.
Brief: The aspects of the program alumni ranked highest were: creating a robust network of colleagues; advancing their own leadership journey in arts-based community development; increased knowledge of the arts-based community development field; and using arts-based approaches for communication and learning. The aspects of the program alumni ranked lowest were: skills and tools for developing and sustaining productive partnerships, and strategies for advancing community dis-
NOW WHAT?
course and organizing. The aspects of the program that were
Clearly CCLI is breaking new ground. It has built significant
themselves already had the most knowledge and experience.
rated lowest seemed to be those areas in which the participants
capacity in the Twin Cities, affecting opportunities for CCLI alumni. Its impact is also spreading in Moorhead-Fargo and Duluth-Superior. There is a growing awareness of its presence
3.
What insights do alumni have about future direction for the program?
in expanding and shaping the arts-based community development field locally, nationally, and internationally. Regarding local
Brief: Suggestions from program participants addressed both
impact, one graduate of the program observed:
program content and structure, with implications for CCLI’s future direction. The comments highlight tensions between formal
…in the Twin Cities I see how Intermedia Arts has changed
structures, required outcomes, and a discovery process that is
minds and CCLI communities [are] embracing [that]—this [arts
driven by participants. Suggestions included:
and cultural approach] is central to community development.
Intermedia Arts
| 2016
21
•
Supporting continued connection to the contacts and
•
How can CCLI develop and utilize resources to step more
networks developed through CCLI/ICCD, as well as further
boldly into its leadership position in the field, prime key
professional development trainings.
sectors to recognize and value its contributions, and create a larger marketplace for its alumni?
•
Creating funding and fundraising opportunities.
•
Having a common space at Intermedia Arts where alumni
EVALUATORS’ RECOMMENDATIONS
can meet regularly for in-depth discussion and to catch up
Based upon the data and the analysis as well as formal and
with one another.
informal conversations with CCLI staff and participants, the authors of this impact study make the following
•
Creating a mentorship program.
recommendations:
•
Updating and diversifying program content; and better
•
Develop a flexible infrastructure that can support continued
connecting the program content to participants’ needs and
interactions between alumni. The infrastructure could
backgrounds.
include: a website with an alumni directory, updates on programs, funding, and partnership opportunities; individual
•
Highlighting profiles and stories about alumni and their
alumni activities; as well as information on the field.
work in a newsletter or on the website. • •
Developing neighborhood-based cohorts.
Support a quarterly convening of alumni, rotating between invitations to all CCLI alumni and a city and/or regional convening. Create more opportunities for people in targeted sectors to attend—particularly from the corporate community and the public policy arena.
QUESTIONS TO CONSIDER As Intermedia Arts designs the next iteration of the CCLI program, it has to balance the needs of alumni, current program
•
inquiries and solutions. The development of an archive that
participants, staff capacity, and the demands of building
can be promoted to help build the field.
the field. While there is currently an increasing amount of philanthropic support, arts-based community development will not be sustainable as a field until it is integrated into the broader
•
agencies.
services, products and results that the approach generates.
•
•
development field and that participants can use in their
What kind of infrastructure can be developed and
entrepreneurial work. These models could include case studies of successful social enterprises and Benefit
development and interaction of alumni networks?
Corporations, and for-profit entities that include public and environmental benefits as part of their mission. These
Given the well-developed expertise participants bring, how
types of Benefit Corporations are now legal in 30 states,
can CCLI determine which skills and information are best
including Minnesota.
demonstrated and shared by participants and which are best demonstrated and delivered by CCLI staff? •
How might CCLI define and unleash the knowledge and skills of participants for the financial benefit of both the participants and CCLI, to consciously build the field?
22
Community and Creative Leadership Institute
Explore new business models that align with the equity goals and values of the arts-based community
sustained by CCLI that will support the ongoing
•
Promote the effective tools and procedures developed through Creative CityMaking for use with other public
marketplace, with a variety of other sectors paying for the skills,
Critical questions include:
Provide platforms for highlighting participant generated
| IMPACT STUDY
•
Plan presentations and discussions with leaders of local ethical business associations and technical assistance providers regarding ways in which particular business structures and processes can be useful to program participants and alumni.
SUMMARY Intermedia Arts’ Creative Community Leadership Institute is clearly having an impact in the lives of its alumni and creating community ripples through their work. The impacts can be seen in the lives of individuals, initiatives sparked within communities, and changes generated in institutions and agencies. The growing network of alumni has created a relational infrastructure that is showing itself to be flexible, adaptable, and enduring. The activities of this network are taking place in Minneapolis-St. Paul, Duluth-Superior, Fargo-Moorhead, in other regions of the country, and internationally— wherever CCLI alumni move and engage. The CCLI program has generated these impacts in part by creating “containers” for sharing expertise, while developing and deepening relationships in a highly intentional way. Those containers include many resources: a well-balanced cohort of experts on their individual journeys, a curriculum, a place to meet, and an agreement to reflect and co-create across significant differences with a commitment to equity. These shared journeys of passion, courage, vision, and imagination are full of risk and uncertainties. Their discoveries may well hold the answers many other sectors are seeking in order to thrive in this century of unprecedented change.
Intermedia Arts
| 2016
23
APPENDIX FIGURE 12. ICCD/CCLI ORGANIZATIONAL AND COMMUNITY IMPACTS I’ve taken on new information or formal leadership positions within my organization or community (human and civic capital).
I’ve help strengthen networks among people and organizations in my community (social civic).
I’ve built trust among people and organizations in my community (social capital).
I’ve promoted efforts to engage broader participation in community and public life (civic capital).
I’ve promoted cultural equity in my organization or community (cultural capital).
I’m more likely to take part in dicussions about difficult community or social issues (civic capital).
I’ve strengthened cultural events in my community (cultural capital).
I’ve strengthened collaboration among organizations to work on challenging issues facing my country (social capital).
I’ve become more comfortable voicing my opinion to public or politcal leaders (civic capital).
I’ve strengthened efforts to promote mental or physical health in my organization or community (human capital).
I’ve strengthened the financial condition of my organization or my community (financial civics).
I’ve strengthened or helped improve the physcial infrastructure of my organization or community (built civics).
I’ve helped conserve or protect natural resources in my community (natural civics).
0
2.0
3.0
4.0
Average reponses on a scale of 1 = not at all, 2 = to a slight extent, 3 = to a moderate extent, 4 = to a great extent
24
Community and Creative Leadership Institute
| IMPACT STUDY
FIGURE 13. SOME EXAMPLES OF ICCD/CCLI ALUMNI PLACE-BASED IMPACTS IN MINNEAPOLIS-ST. PAUL
QUOTES FROM ALUMNI I work with 100 public libraries in the 7 county areas, supporting
2014. As a group, we were able to plan a few things: 1) a street
library staff in implementing thousands of free public programs
festival in the Warehouse District, 2) a picnic at Wabun park, and
funded by the Arts and Cultural Heritage Fund in the areas of
3) helped to get the Remember 1934 theme--and people--in the
literary programs, creative writing, author visits, book clubs,
2014 MayDay parade.
all-community-read events, history programs, live performances, hands-on art making, public art, archival preservation, exhibitions,
I and another CCLI alum (one that I told about CCLI to, and
cultural activities and other projects.
encouraged to apply) hosted a spoken word/literary event remembering the 150th anniversary of the US Dakota War, in
I served as consultant to Northside Arts Collective, and publish
2012. We organized and participated in one in 2013, as well as
the Northeaster and NorthNews newspapers. The newspapers
held a session at the Overcoming Racism conference. We will be
put me in a position to attend a lot of meetings and sometimes to
hosting another event with the Saint Paul Almanac this December
advise people who want to know more about our coverage areas.
26th, the 3rds annual Dakota Writers Speak to Presence on the
The appreciation for ABCD informs my coverage of the arts.
anniversary of the hanging of the Dakota warriors in Mankato.
Model Cities Sustainable Spaces: working with two public artists
I got very involved in the hands-on work the Family Life Education
(Roger Cummings & Marjorie Pitz) to bring to life the stories of
staff did at two schools in North Minneapolis--Lucy Craft Laney
African-American railroad workers.
K-8 and North High School. At Lucy Laney, we initiated an Afterschool Moves Program that was experiential and utilized art,
Forecast Public Art: consulting on arts and culture planning in
movement, dance, rock climbing, group initiatives, games, etc.
Saint Paul, Eagan, Hopkins, Duluth and Grand Forks.
We collaborated with the Stuart Pimsler Dance Company to do some of the dance/movement portions.
Mixed Blood Theatre: board member working with staff to realize vision of the theatre as a community center for its majority Somali
I worked as Interim Executive Director at Inter-tribal Elder
neighborhood.
Services. The programs which were part of Inter-tribal Elder Services (ITES) were layered and culturally relevant and included
Farmhouse, Longfellow: I’ve been able to weave tools of
Circles of Tobacco Wisdom, Wisdom Steps, Grandparents Raising
partnership development, funding strategies, and community
Grandchildren, Access and Outreach, and Nutrition Assistance
development in my work leading yearlong urban farming
Program. We ran an Elders Sewing Circle, collaborated with
programs that continue to produce leaders in the local food
Dream of Wild Health, Native American Community Clinic, Indian
movement.
Health Board, Kinship Care Program, MN Board on Aging, University of Minnesota, Metropolitan Area Agency on Aging,
I was, for a time, involved in the Native American-Somali
Little Earth, Elders Lodge, Minneapolis American Indian Center, as
Friendship Committee (NSFC) and some of the community-
well as all of the Urban Tribal Offices. The layers of relationships
building activities they were holding in conjunction with Bedlam
that I experienced were rich and complex.
Theater and New Native Theater. I tried to make sure there were Native perspectives and people present. I tried to involve
Social Media Coordination for the Irrigate Arts project - with
students in the NASFC and link the committee to resources at my
Springboard for the Arts, project runs all along University
then-employer and the church we were housed in.
Avenue and the Green Line Light Rail Line from the West Bank of Minneapolis into Lowertown Saint Paul. Artist Organizing with
I clicked South and North Minneapolis because of my involvement
the Friendly Streets Initiative - projects and events in St. Paul on
with arts and community organizing with Remember 1934 and
Fairview Avenue, Charles Avenue, Victoria & University, Pelham
In the Heart of the Beast Puppet and Mask Theater. I started
Boulevard, Raymond Avenue & University, and a demonstration
attending the Remember 1934 All-volunteer Initiative in January
event in Prospect Park for Green 4th. These included
Intermedia Arts
| 2016
25
neighborhood block parties with community visioning for
levels. As a result of the project, there is now more recognition
transforming public space, life sized demonstrations, and artist
that the Metro area/the bdote area is Dakota homeland. A
activities and performances.
permanent installation of Dakota voices (Cloudy Waters) is now
I have also taught preschool in
St. Paul.
available in the Mill City Ruins Courtyard. The same audio/ along with primary video from the exhibition/installation at
I’m integrating the arts into a capacity-building project at a
Minnesota History Center in St. Paul is being installed in an
senior low-income hi-rise. I have also facilitated civic dialogue
exhibit at the Science Museum in St. Paul.
and storytelling at a public library, and have done story coaching for numerous people.
My training in the CCLI prepared me well for helping to develop a statewide initiative to increase graduation rates
I’ve also collaborated with CCLI alum (Bedlam Theater) to
for African-American and American Indian students in
produce community art projects where I live (Saint Paul).
Minnesota, and especially in urban school districts. It also
Most recently, I’ve been awarded a Knight Arts St. Paul
helped me forge meaningful connections with others working
grant to organize and produce community arts work in my
specifically for resiliency of Native American youth at the
neighborhood Dayton’s Bluff. This, I expect and endeavor to
American Indian Family Center in St. Paul, the indigenous arts
ensure, will become the deepest and longest lasting impact I’ve
education organization Ce Tempoxcalli in St Paul’s West Side
had the opportunity to effect.
Neighborhood, and the Twin Cities Native American Lacrosse Club.
Took Organizing Classes from Hope Community and began to develop a long-term working relationship, program/practice
Midwest World Fest: fostering cross-cultural understanding
group called Intersections. I am currently working on my first
through an international music program in small communities
large-scale public art project/process - out of Intersections -
across the Midwest Somali Documentary Project: working with
Soundtrack of Phillips.
partners, including Intermedia, Somali community across metro area.
I was the original co-founder of Form and Content Gallery, an artist’s cooperative that is thriving and now 8 years old. Some of my major works include the Presence of Loss, on which I collaborated with fellow ICCD alum Juliet Petersen, and the I AM WATER project. I also co-produced the MN Creates Project which brought the work of contemporary MN artists to the State Capital in a first of its kind exhibition.
FIGURE 14. SOME EXAMPLES OF ICCD/CCLI ALUMNI PLACE-BASED IMPACTS IN DULUTH-SUPERIOR
QUOTES FROM ALUMNI
I work at an arts program serving artists with disabilities. We
Consulting with Forecast Public Art, I developed a public master
have been in the Warehouse District/North Loop in Minneapolis,
plan and assisted with artist selection and implementation for
but I have recently moved to the Midway neighborhood in
three projects in Saint Louis County’s Government Services
St. Paul. The artists participating in our program come from
Center.
throughout the Metro. In my own creative work, I have created a touring project called the Picnic Operetta that performs in
I have performed, exhibited, taught and served as support
community gardens and sites of urban agriculture and food
person/ advisory board member in downtown Duluth (at the
production. We have ongoing relationships with communities
Prøve Gallery, at Gimaajii Community Center, and at Zeitgeist
and partners in East St. Paul, West St. Paul, North Minneapolis,
Arts). I have also exhibited in Wrenshall and at the Duluth Art
St. Louis Park, Whittier neighborhood, Falcon Heights and
Institute and frequently support events/ projects of other artists
Hastings.
and community organizations.
Bdotememorymap.org, which is a partnership project with the
I’m consulting with the Design Duluth Collaborative with LISC,
Minnesota Humanities Center, is being used in classrooms at all
the St Louis River Alliance, and the University of Minnesota.
26
Community and Creative Leadership Institute
| IMPACT STUDY
Recently I participated in community organizing around the
Our office is near downtown, and many conversations have
Chester Park development issues (in Duluth).
been held there that have helped shift the conversation to find ways to incorporate the arts and arts-based learning into
I was and am a part of the Nibi Walk project, which walked the
a variety of businesses, ideas, Cities, etc.
Downtown has
St Louis River this year.
continued to grow and thrive since CCLI, in part because of the work I am doing with artists.
The map does not include the entire City of Duluth- it’s missing several River Corridor neighborhoods where we have taken on an
I did some work in the Fargo-Moorhead area with a small
increased role in revitalization activities. One of our main areas of
theater company that is devoted to heightening community
focus is to drive greater parity for the western neighborhoods’ low-
conversations to create social justice, Act Up Theatre.
income neighborhoods. We are also working on some citywide
Specifically I played a role in creating partnerships with
initiatives, so placed a marker at City Hall.
social service agencies within the area, as well as facilitating post show conversations between audience, artistic team, performers, and mental health specialists. I also worked with them to develop a fundraising plan.
FIGURE 15. SOME EXAMPLES OF ICCD/CCLI ALUMNI PLACE-BASED IMPACTS IN FARGO-MOORHEAD
Connections built for a for-profit coffee shop and events space. Collaborative work with the Moorhead Public Library.
QUOTES FROM ALUMNI Our CCLI lab group has created an installation that will appear at the Plains Art Museum in 2015. We will be a part of a group show called: “The Bakken Boom: Artists Respond to the North Dakota Oil Rush.” This opportunity grew out of the connection we had with our CCLI project mentor, Karis Thompson. Leading strategy and a Board for a community foundation (ex: integration of a non-designated endowed art fund into the long-term strategy as well as one for uplifting out of poverty, education and community building; building community dialogue platform for downtown Moorhead); strategy and board leadership for a major arts org; continued integration of regional art into our business. We ran the 6th Annual F-M LGBT Film Fest in 2014 at the Fargo Theatre. Previously, I also hosted FTM Dinners at my home in Moorhead, and held FTM Brotherhood meetings at Grove Park. Helped design and leverage the Plains Art Museum’s sociallyengaged art initiatives - development of three Defiant Gardens, a Living as Form exhibition with 10 weeks of artist residencies and the symposium Central Time Centric: Art and Social Practice in the Midwest - as relationship-building platforms. I have increased my involvement with West Acres, a local, privately owned mall, in terms of helping them think about how to further engage the larger community with and through art.
Intermedia Arts
| 2016
27
APPENDIX A Promoted Deep Connections
28
Community and Creative Leadership Institute
| IMPACT STUDY
APPENDIX B Deepened Commitment to Racial Equity Work
Intermedia Arts
| 2016
29
APPENDIX C Strengthened Leadership Skills for Community Building
30
Community and Creative Leadership Institute
| IMPACT STUDY
APPENDIX D Generated Personal and Professional Growth
Intermedia Arts
| 2016
31
APPENDIX E Challenges
32
Community and Creative Leadership Institute
| IMPACT STUDY
GRAPHIC CHART OF RIPPLE MAPPING SESSION CREATED BY AMY BATISTE
Intermedia Arts is a premier multidisciplinary, multicultural arts organization in Minneapolis, Minnesota whose mission is to be a catalyst that builds understanding among people through art. The Creative Community Leadership Institute (CCLI) is a program of Intermedia Arts that fosters healthy, capable and equitable communities by building the skills and network of leaders working at the intersection of the arts and community change. CCLI is rooted in the belief that communities facing rapid change and complex issues can make real progress when people come together across disciplines, sectors and boundaries to collaborate, innovate, think big, and act artfully for community-driven change. For communities to thrive, we need creative leaders who can engage people across large divides and establish enough common ground to develop cooperative and just solutions. These are the skills the Creative Community Leadership Institute builds. This study was commissioned by Intermedia Arts to inform the ongoing improvement of the organization’s creative leadership programs. It was prepared by lead evaluator Betty Emarita, with Scott Chazdon from the University of Minnesota Extension Center for Community Vitality. The Creative Community Leadership Institute, and this study have been made possible through the generous support of the Bush Foundation.
IntermediaArts.org 612.871.4444 // Info@IntermediaArts.org 2822 Lyndale Ave South, Minneapolis, MN 55408
WENDY MORRIS Director of Creative Leadership