Impact Study

COMMUNITY AND CREATIVE LEADERSHIP INSTITUTE

Made possible thanks to the generous support of the Bush Foundation.

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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

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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

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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

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This framework was developed by the Center for the Study of Art & Community based on a community arts rubric conceived by Maryo Ewell.

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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.

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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.

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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

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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-

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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

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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.

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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.

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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

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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

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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)

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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

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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

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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

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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

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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.

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ALUMNI INTERVIEWS

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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.

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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

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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.

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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

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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.

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•

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?

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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.

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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

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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

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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.

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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.

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APPENDIX A Promoted Deep Connections

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APPENDIX B Deepened Commitment to Racial Equity Work

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APPENDIX C Strengthened Leadership Skills for Community Building

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APPENDIX D Generated Personal and Professional Growth

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APPENDIX E Challenges

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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