Flexible Support
Flexible Support
Teaching Artist Cohort: Phase 2
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.
Basil Considine, Artistic, Education, General Management/ Administration/ Support; Dustin Steuck, Artistic, General Management/Administration/Support, Equity, Diversity, Inclusion; Kim Peterson, Organizational Development, General Administration, Volunteerism; Mitchell Frazier, Technical Production, Education, Artistic; Nicole Hoesktra-Voves, Equity, Diversity, Inclusion, Education, Artistic; Nouf Saleh, Artistic, General Management/ Administration/ Support, Equity, Diversity, Inclusion; Rachel Castro.
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 ; Reviewing recorded information or documentation (such as finances, attendance records, work plans) ; Observation
At the end of each workshop series, we took time to talk with participants about what parts of our structure worked and didn't work for either learning or general accessibility. Participants loved the curriculum the teaching artists had developed and the biggest request was more frequency or opportunities to build on the art skills they learned. Around accessibility, the issue was timing, and throughout the workshop series we adjusted for later starts to accommodate weekday evening courses. From the instructors' respective we sat down regularly and checked in on how prepared they felt for teaching and how supported they felt by our organization. Some of the artists wanted more or less in-class presences from us as organizers and we made that adjustment where it was needed. When we held our youth courses teachers requested more support with classroom management and we made the adjustment to be present for all of the youth courses. Our approach for evaluation is consistent dialogue.