Arts Project Support
Arts Project Support
How the Wild West Was Spun.
Lynne Bertalmio: Retired Director Stillwater Public Library; Cristeta Boarini: 826 MSP Program Director; Craig Dunn: Arts Accessibility Consultant; Tricia Heuring: Public Functionary Executive Director; Alejandra Iannone: Sparkle Theatricals Creative Co-Director; Wu Chen Khoo: Technical Tools of the Trade Stage Technical Designer and Director; Wendy Lane: Retired Human Resources Professional; Alejandra Pelinka: City of Bloomington Director of Creative Placemaking; Tommy Sar: Ordway Center for the Performing Arts Coordinator of Community Programs; Lue Vang: McKnight Foundation Accountant; Donna Saul Millen: TPT-Twin Cities PBS Events Director; Christal Moose: Native Pride Productions Inc Manager; Adaobi Okolue: Twin Cities Media Alliance Executive Director; Andrea Sjogren: Hopkins Community Education Adult and Youth Programs Coordinator; Deanna StandingCloud: New Native Theatre; Sara Wilson: Gislason and Hunter LLP Attorney; Robyn Cline: City of Savage Economic Development Commissioner.
Bob Peskin: General Management / Administration, Finance / Audit, Fundraising; Brenna Mosser: Artistic, Education, General Management/ Administration/ Support; Denetrick Powers: Community Service / Development, Artistic, Audience Development / Marketing; Jennifer Ilse: Artistic, General Management / Administration; Karen Charles: Artistic, Education, General Management / Administration; Rob Thomas: General Management/Administration/Support, Program Development, Marketing/Audience Development.
ACHF Arts Access ACHF Arts Education ACHF Cultural Heritage
Dovie Thomason and Kling and Co. believes the shared experience of perform-ing/witnessing How the Wild West Was Spun will serve to strengthen the communities that attend, provide a safe environment for conversation on hard subjects, stimulate re-flection, and perhaps a better understanding of ourselves and each other. This exploration of the past also opens up parallels and questions that encompass current issues of resource extraction, reality tv, celebrity vs achievement, indigenous identity and agency, and food sovereignty. With this story, Dovie seeks to articulate an alternative narrative that might nurture the seeds of a new origin of values that would enable us to live together and live sustainably on this Earth. As Dovie says, “I believe there's a hunger for stories today that talk about these things. These stories that were manufactured as history -- we deserve better stories. I'm bringing back the old seeds to fill the hunger in us all.”. Evaluation: Audiences response will be the best indicator of success of having met our goal. Dovie’s performance incorporates post-show talk-back; through conversations, we will hear how the project impacted our audience and what they took away from the performance. A community posting board at the theater will also allow audiences to leave handwritten comments and reflections; an on-line survey will be sent to all on-line ticket-buyers. As a creative team, we will meet after the final performance to evaluate the success of reaching our artistic goals. Kling and Co. will receive detailed financial reconciliation of expenses and income from Open Eye as fiscal sponsor to verify we managed and planned the project successfully.
Dovie Thomason and Kling and Co. believes the shared experience of perform-ing/witnessing How the Wild West Was Spun will serve to strengthen the communities that attend, provide a safe environment for conversation on hard subjects, stimulate re-flection, and perhaps a better understanding of ourselves and each other. This exploration of the past also opens up parallels and questions that encompass current issues of resource extraction, reality tv, celebrity vs achievement, indigenous identity and agency, and food sovereignty. With this story, Dovie seeks to articulate an alternative narrative that might nurture the seeds of a new origin of values that would enable us to live together and live sustainably on this Earth. As Dovie says, ?I believe there's a hunger for stories today that talk about these things. These stories that were manufactured as history -- we deserve better stories. I'm bringing back the old seeds to fill the hunger in us all.?; This project engaged 458 audience members via 4 public performances, gallery exhibition, and university class; 41 youth participants were engaged via classroom visits; A team of 8 artists fulfilled the project goals. Sampling of survey responses: ?Excellent show...Gave me a new perspective on history.? ?The combination exhibit/storytelling was great.? ?This show was fantastic and eye-opening!?
Other,local or private