Flexible Support
Flexible Support
The Performance Collective
Cristeta Boarini: 826 MSP Program Director; Robyn Cline: City of Savage Economic Development Commissioner; Amanda Cortes: Artspace and Springboard for the Arts; Paul Creager: Square Lake Film and Music Festival Founder and Director; Adrienne Doyle: Juxtaposition Arts Tactical Lead and Development Associate; Craig Dunn: Access Consultant; Tricia Heuring: Public Functionary Executive Director; Alejandra Iannone: Interdisciplinary Artist and Sparkle Theatricals Creative Creative Director; Ryan-Olivia McCoy: Black Label Movement and Shapeshift dancer; Christal Moose: Native Arts Collaborative Agency and Native Pride Productions, Inc. Arts Manager and Artist; Adaobi Okolue: Twin Cities Media Alliance Executive Director; Alejandra Pelinka: City of Bloomington Director of Creative Placemaking; Tommy Sar: Independent Consultant; Andrea Sjogren: Community Education; Lue Vang: McKnight Foundation Accountant; Sara Wilson: Lommen Abdo P.A. Attorney; Kate Walker: Valley Chamber Chorale Singer; Lauren White: Augsburg College Assistant Director of Leadership Gifts.
Chris Harrison, Artistic; Deneane Richburg, Artistic, Community Education, Audience Development / Marketing; Margo Gray, Artistic, General Administration, Organizational Development; Naomi Ko, Artistic; Rodrigo Sanchez-Chavarria, Artistic.
ACHF Arts Access ACHF Arts Education ACHF Cultural Heritage
A reduction in geographic, cultural and/or physical barriers to arts participation; a change in knowledge, attitude, behavior or condition due to arts events; arts groups' are strengthened by connecting to their communities through the arts; artists expand and improve their work and the way in which they create it; artists connect to new audiences, building relationships that provide artistic growth. Interviews/Conversations with participants ; Interviews/Conversations with board/staff/leaders ; Community dialogue (group conversations with a large group) ; Reviewing recorded information or documentation (such as finances, attendance records, work plans) ; Observation
Outcomes: two artists were able to access safe, free rehearsal space to move an existing work forward, and to then present that work in process/excerpted in front of a safe, small, in-person audience. The proposed Collective operating model was stress-tested to the extreme. Evaluation: feedback from artist participants; community conversation following artist presentations; rigorous and ongoing self-assessment of Collective structure throughout the grant period, including sessions with a professional organizational development facilitator.
Other,local or private