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  • Digital Marketing for Cultural Organizations

    Contains 2 Component(s) Recorded On: 08/14/2019

    At a time when the amount of online content has become overwhelming, cost-efficient strategies that allow cultural organizations to thrive are increasingly essential. Join us for a webinar on 8/13 about digital marketing initiatives that have helped cultural entities grow customer loyalty, boost revenues, and raise awareness about programs and services.

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    About this Webinar

    At a time when the amount of online content has become overwhelming, cost-efficient strategies that allow arts and cultural organizations with modest budgets to thrive are increasingly essential. In this webinar, Daniel Gallant, Executive Director of Nuyorican Poets Café, leads a discussion of social media strategies and online marketing initiatives that have helped the Nuyorican Poets Cafe, Arts Japan 2020, and other cultural entities to grow customer loyalty, boost revenues, and raise awareness about programs and services. Organizations of all sizes can learn from the achievements of small cultural entities that have exploited nuances of the online marketing sphere to outperform their larger competitors in key categories. 

    Daniel Gallant

    Marketing Consultant

    Daniel Gallant is the Executive Director of the Nuyorican Poets Cafe, the Director of Arts Japan 2020, and a marketing consultant. He is the recipient of an Eisenhower Fellowship and fellowships from National Arts Strategies and the Devos Institute; he was also recently named to the Fulbright Specialist roster. His writing has appeared in the Wall Street Journal, Time Out New York, the New York Post, six anthologies from Applause Books and Vintage Books and elsewhere. He has been featured in the New York Times, the Los Angeles Times, Forbes, Adweek, Crains New York, Inc., New York Magazine, and on MTV, NPR, NY1, PBS, CNN’s United Shades of America and NPR's Planet Money. He has lectured and consulted about arts marketing for organizations including the Kennedy Center, PEN World Voices Festival, Brooklyn Academy of Music, Banff Arts Centre, the 92nd Street Y, Bloomberg Philanthropies, the Lower Manhattan Cultural Council, Opera America, Fourth Arts Block, The Field, the Devos Institute, Columbia University and many more. 

    WEBSITE: https://wikipedia.org/wiki/Daniel_Gallant

    WEBSITE: www.nuyorican.org

    TWITTER: @NuyoricanPoets

  • Supporting Individual Artists Coffee Chat: Supporting Artists with Disabilities

    Contains 1 Component(s) Recorded On: 08/06/2019

    What do knowledge and resources do arts administrators need to support artists with disabilities? Join us on 8/6 for a Coffee Chat with Judith Smith, Founder and Director Emerita of AXIS Dance Company, as she discusses strategies for your organization to ready itself to be more inclusive to people with disabilities.

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    About this Conversation

    Supporting Individual Artists Coffee Chat

    Supporting Artists with Disabilities

    Americans for the Arts is excited to bring you a monthly series of informal discussions about supporting individual artists. As part of Americans for the Arts ongoing program, Arts Administrators Essentials: Supporting Individual Artists, these monthly "Coffee Chats" are your opportunity to hear from individuals and organizations in the arts and culture field that support individual artists as part of their everyday work. Each month, we will bring you a new topic to support your work with artists. Our topic for this month will be about supporting artists with disabilities.

    How can you support artists with disabilities?

    Join Judith Smith, Founder and Director Emerita of AXIS Dance Company, as she discusses strategies for your organization to ready itself to be more inclusive to people with disabilities; how you can support disabled artists in your programming and hiring processes; as well as what resources are available to support disabled artists. 


    This project is supported in part by the Emily Hall Tremaine Foundation.

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    Judith Smith

    Founding Member and Artistic Director Emerita, AXIS Dance Company

    Judith Smith, Founding Member and Artistic Director Emerita of AXIS Dance Company, is one of the world’s driving forces in physically integrated dance. She was born and raised in the mountains of Colorado. Prior to becoming disabled in a car accident at age 17 in 1977, Judith was a champion equestrian. She transferred her passion for riding to dance after discovering contact improvisation in 1983. Judith helped launch AXIS in 1987 and she grew the Company to be the nation’s leading physically integrated dance ensemble. She has left an amazing legacy and vision for the future of AXIS and integrated dance.

    Her advocacy and equity work led to the first-ever National Convening on the Future of Physically Integrated Dance in the USA, followed by six regional town halls throughout the country in 2016. This project, supported by the prestigious Doris Duke Charitable Foundation National Project Program, culminated in an extensive report and the launch of the AXIS Artistic Advancement Platform to Advance Artistry, Opportunity and Equity for Dancers with Disabilities. She has been instrumental in the creation of the Dance/USA Disability and Dance Affinity Group and co-chairs the group.

    Judith is currently working as an independent consultant in dance and disability. She is an activist for the environment, animals and people with disabilities. She gardens for pollinators, birdwatches, raises butterflies and is involved in thoroughbred racehorse rescue and adaptive carriage driving.

    Website: http://www.axisdance.org/advocacy

  • Creative Counties: Engaging Artists in the Community Development Process

    Contains 2 Component(s) Recorded On: 07/26/2019

    ThebuildingcommunityWORKSHOP​ [bc] is a Texas based nonprofit community design center seeking to improve the livability and viability of communities through the practice of thoughtful design and making. They enrich the lives of citizens by bringing design thinking to areas of our city where resources are most scarce. To do so, [bc] recognizes that it must first understand the social, economic, and environmental issues facing a community before beginning work. Join us as we hear from Lizzie MacWillie, bcWORKSHOP’s Associate Director, Dallas who will present on the work of buildingcommunityWORKSHOP. She will focus on their creative placemaking work, including Activating Vacancy [bc]'s multiyear arts programs, and their community based architecture work, all of which place resident and community collaboration at the forefront. Lizzie will share specific examples of engagement methods and how these methods are integrated into [bc]'s overall practice.

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     About this Webinar

    The buildingcommunityWORKSHOP [bc] is a Texas based nonprofit community design center seeking to improve the livability and viability of communities through the practice of thoughtful design and making. They enrich the lives of citizens by bringing design thinking to areas of our city where resources are most scarce. To do so, [bc] recognizes that it must first understand the social, economic, and environmental issues facing a community before beginning work. Join us as we hear from Lizzie MacWillie, bcWORKSHOP’s Associate Director, Dallas who will present on the work of buildingcommunityWORKSHOP. She will focus on their creative placemaking work, including Activating Vacancy [bc]'s multiyear arts programs, and their community based architecture work, all of which place resident and community collaboration at the forefront. Lizzie will share specific examples of engagement methods and how these methods are integrated into [bc]'s overall practice.

    Learning Objectives

    Attendees will...

    • Learn how [bc] integrates design and community engagement
    • Learn the Activating Vacancy process, from ideation to celebration
    • Learn about the various community engagement methods employed by [bc]

    Lizzie MacWillie

    buildingcommunityWORKSHOP

    Director at buildingcommunityWORKSHOP. Lizzie brings to the team critical design experience managing [bc]’s multi-year creative placemaking initiative, Activating Vacancy, an initiative focused on bringing people together to share food, stories, art, experience, and histories as well as enabling neighbors to talk, to learn, and to organize.  This activation leads to cultural, physical, and political changes that can revitalize neighborhoods, improve infrastructure and bring economic benefits to residents.

    Prior to joining [bc] in her current role, Lizzie was a part of OMA/AMO in Rotterdam, NL. She received a Master of Architecture in Urban Design and a Master of Design Studies in Art, Design and the Public Domain from Harvard’s Graduate School of Design, and a Bachelor of Architecture from CarnegieMellon University.

    Twitter: @bcworkshops  

    Website: www.bcworkshop.org

  • Supporting Individual Artists: Dancers Edition

    Contains 2 Component(s) Recorded On: 07/25/2019

    With thousands of nonprofit and for-profit organizations, employing tens of thousands of people, the dance community in the US continues to be a driving force in the arts and culture sector. But how exactly can organizations best support the individual dancers so that they can be successful in achieving their personal goals, while positively impacting the communities they are a part of?

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     About this Webinar

    With thousands of nonprofit and for-profit organizations, employing tens of thousands of people, the dance community in the US continues to be a driving force in the arts and culture sector. But how exactly can organizations best support the individual dancers so that they can be successful in achieving their personal goals, while positively impacting the communities they are a part of?

    Join Allyson Esposito, Senior Director of Arts and Culture at the Boston Foundation, to learn about the Next Steps for Boston Dance grantmaking initiative for Boston area choreographers. The Boston Foundation is one of the nation’s largest and oldest community foundations. The Next Steps for Boston Dance program was born out of the results of several different research initiatives led by the New England Foundation for the Arts, the City of Boston Mayor’s Office of Arts and Culture, and the Boston Foundation, which identified dance as the least philanthropically supported discipline in the region, and articulated a need for artist-level support and the development of pathways for local choreographers and dance artists.  Next Steps was created with significant input from the dance community it was intended to serve and provides much needed rehearsal space, mentorship, and funds for artists to take their “next step”. Key to its success is the flexibility of the program (no pun intended!), with individualized supports provided to each artist recipient.  

    Attendees will learn:

    • How to create an artist-level grant program based on research and data, but with significant artist input into the program design process
    • How to create individualized supports within a grant program
    • What choreographers need to be most successful in achieving their career goals
    • What parallel investments and ecosystem shifts have had to occur to ensure Next Steps is most impactful
    • Choreographer mentorship models
    • Cohort and network building within a diverse and disparate dance ecology



    This project is supported in part by the Emily Hall Tremaine Foundation and the National Endowment for the Arts.

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    Allyson Esposito

    Senior Director of Arts & Culture, The Boston Foundation

    Allyson Esposito is a professional artist, arts administrator, change management consultant and lawyer with more than ten consecutive years of experience in the philanthropic field. In each of the philanthropy roles she has held, Esposito has led comprehensive change, designing and implementing new strategies, programs and systems to support a new vision that addresses areas of highest need and greatest opportunity, often in response to large scale, municipally-led cultural planning efforts. 

    She currently serves as the Senior Director of Arts & Culture for the Boston Foundation, Greater Boston’s Community Foundation and one of the largest community foundations in the nation, with net assets of $1 billion. Relocating to Boston during a critical “arts renaissance” for the city, Esposito designed a large-scale philanthropic response to the city’s first large-scale cultural plan, Boston Creates. One of her programs, Live Arts Boston (LAB), has been hailed as most well-known, field-changing grant programs for the arts in Greater Boston. In three years, LAB has supported 185 projects and more than 450 artists (70% of whom identify as people of color) with nearly $3 million to create, present or produce new work for Greater Boston audiences.  A recent WBUR article about LAB noted that, since its inception, “the arts in Boston is demonstrably more vibrant.”

    Esposito came to Boston from her hometown of Chicago, where she worked for the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE) as the Director of Cultural Grantmaking, leading efforts to strategically restructure all grant programs for the first time in 20 years, ultimately designing and managing 4 programs awarding more than 250 grants per year. Prior to DCASE, she was Program Officer for the Mayer & Morris Kaplan Family Foundation during a time of significant organizational and leadership transition.

    Jean Appolon

    Co-Founder and Artistic Director, Jean Appolon Expressions

    In addition to being the Co-Founder and Director of Jean Appolon Expressions (JAE), Jean Appolon is a successful choreographer and master teacher based in Boston and Port-au-Prince, Haiti. Appolon received his earliest training and performance opportunities in Port-au-Prince with the Lynn Williams Rousier Dance School, the Viviane Gauthier Dance Company and the Folkloric Ballet of Haiti. Appolon continued his dance education in the U.S. at the Harvard and Radcliffe Dance Program (1995-1996, Boston, MA), Alvin Ailey American Dance Theater (1996-1998, New York, NY) and the Joffrey American Ballet School (1998-2003, New York, NY), where he graduated with a B.A. from a joint degree program offered by The New School. 

    Appolon has also performed with Elma Lewis Productions (Black Nativity), Marlene Silva, North Star Ballet Company (Fairbanks, AL), Black Door Dance Company (Miami, FL), and the Atlantic City Ballet Company. Jean Appolon teaches dance at Boston Ballet’s City Dance and Boys in Motion programs, The Gold School, Wellesley College, UMass Boston and The Dance Complex (Cambridge, MA), among other locations. Beginning in 2006, Appolon conceived and has since directed a free annual summer dance course in Port-au-Prince that serves young, aspiring Haitian dancers who do not have regular access to dance training. The 2019 Summer Dance Institute is being held in Lawrence, MA for the first time this year, in partnership with Izizwe Dance Studio and Bread and Roses. 

    Jean Appolon’s Boston-based Haitian Contemporary dance company has toured to Washington DC, Silver Springs, MD, NYC and Port Au Prince, Haiti. JAE has also performed at major venues such as Boston’s Paramount Theater, John Hancock Hall and Silver Spring MD Civic Center, as well as in city parks and community spaces in free performances accessible to the public. JAE also has performed at many schools and colleges, including Boston University, American Universtiy, Dartmouth College, Dean College, Harvard University, Lesley College, Northeastern University and Wheaton College. JAE has been fortunate to share the stage with celebrities such as Danny Glover, Henry Louis Gates and Edwidge Danticat, and to collaborate with community partners such as Inquilinos Boricuas en Acción (IBA), Central Square Theater CityPop Egleston and the Irish Immigration Center of Boston.

    Facebook: Jean Appolon Expressions

    Website: https://jeanappolonexpressions.org/

    The Boston Foundation’s Next Steps for Boston Dance: https://www.tbf.org/nonprofits/grant-making-initiatives/next-steps-for-boston-dance

    The Boston Foundation’s General arts and culture site: https://www.tbf.org/what-we-do/strategic-focus-areas/arts

    The Boston Foundation’s research and study about funding for Boston and 10 Other Cities (from 2016): https://www.tbf.org/-/media/tbforg/files/reports/arts-report_jan-7-2016.pdf?la=en

    The New England Foundation for the Arts study: https://www.nefa.org/moving-dance-forward

  • Creating Spaces: Performing Arts in Sacred Places - Part 2

    Contains 2 Component(s)

    Artists have been creating out of and incubated by sacred places (churches, synagogues, temples, etc) for a long time. So much of that is based on the chance encounter, a congregant or clergy leader who happens to love art and wants it in their space or any number of other non-linear ways. Partners for Sacred Places has figured out how to put the two together in a purposeful and meaningful manner. Internal conversations and external transparency and more are key to a successful partnership between the two.

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     About this Webinar

    Artists have been creating out of and incubated by sacred places (churches, synagogues, temples, etc) for a long time. However, so much of art in sacred places is based on the chance encounter, a congregant or clergy leader who happens to love art and wants it in their space or any number of other non-linear ways. Partners for Sacred Places has figured out how to put the two together in a purposeful and meaningful manner. Internal conversations and external transparency and more are key to a successful partnership between the two.

    Learning Objectives

    • Learn about what internal conversations need to be had before space sharing
    • How are artist and sacred place space sharing relationships unique
    • How do these relationships transcend the typical model of landlord/tenant and how can they do more than that model


    Check out part one of this two-part webinar: https://artsu.americansforthearts.org/products/creating-spaces-performing-arts-in-sacred-places-part-1 

    Karen DiLossi

    Director, Making Homes for the Arts in Sacred Places, Partners for Sacred Places

    Karen DiLossi earned her degrees from Washington College and Villanova University. Karen has worked professionally in theatre since 2000 both onstage and off and has achieved particular success as stage manager, director, and producer. As a director, she has tackled classics (Tartuffe & Twelfth Night) and contemporary pieces (Jump/Cut, Pounding Nails in the Floor with my Forehead) as well many original new works as Co-Artistic Director for Madhouse Theater Company. She was the Program Director for the Theatre Alliance for 8 years where she produced the Barrymore Awards many times and directed them herself twice. As Director of Arts in Sacred Places, she has built and brought to a national stage a program that connects artists and congregations and also engages multiple civic, nonprofit, and funder stakeholders. Over the past eight years, she has expanded this originally Philadelphia-based program into Chicago, Austin, and Baltimore. Starting in the summer of 2019, Karen will begin piloting the program in New York City. Karen also led the research report Creating Spaces which elevated the artist space crisis conversation nationwide and in the Spring of 2016 opened The Philadelphia Design Center, the first of its kind in the country. Just this May (2019), she produced Grounds that Shout! (and others merely shaking) a series of performances curated by Reggie Wilson (Fist and Heel Performance Group) where the artists performatively respond to religious spaces, with a focus on the history of the black and POC religious experience in Philadelphia and the United States.

    Website: https://sacredplaces.org/ 

    Twitter: @sacred_places  
           

    Partners' website link to Arts in Sacred Places: https://sacredplaces.org/reimagine-your-community/arts-culture

    Partners' Arts in Sacred Places Grounds that Shout project: https://sacredplaces.org/reimagine-your-community/grounds-that-shout

    Partners' Arts in Sacred Places Creating Spaces report: https://sacredplaces.org/tools-research/3-city-arts-study

    Partners' Arts in Sacred Places Philadelphia Design Center project: https://www.phillydesigncenter.org/

  • Connecting Communities Through Events

    Contains 2 Component(s) Recorded On: 07/23/2019

    Most organizations feel the need to produce regular events to gain new audiences and foster returning patrons. However, if each event is not connecting with the community in a meaningful way, it is hard to rationalize the long hours your staff has put into producing it. Event production is more than just a logistical task and success can be gauged in more ways than just the audience numbers. This webinar will touch on how to look for the right person to produce your events and how logistical details should not take precedence over the skill of creating a mini-program that furthers your organization's mission and most importantly connects communities and creates thriving collaborations.

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     About this Webinar

    Most organizations feel the need to produce regular events to gain new audiences and foster returning patrons. However, if each event is not connecting with the community in a meaningful way, it is hard to rationalize the long hours your staff has put into producing it. Event production is more than just a logistical task and success can be gauged in more ways than just the audience numbers. This webinar will touch on how to look for the right person to produce your events and how logistical details should not take precedence over the skill of creating a mini-program that furthers your organization's mission and most importantly connects communities and creates thriving collaborations. 

    Learning Objectives

    • Understanding how to cultivate relationships through events
    • How to hire the right person to produce your events
    • How to gauge success for your organization after events

    Sarah Rucker

    Founder, Full Gallop

    Sarah is a lifelong arts lover and advocate with 13 years of experience in arts research, programming and presenting. She is the founder of Full Gallop, which offers event production, community engagement and artist consulting services. Full Gallop strives to bridge cultures and connect communities through creative collaborations and programs. She has a personal mission to help increase equity in the arts, especially in Austin, where she recently started the Inclusion Riders Initiative ATX. She was also a founding board member of Austin Emerging Arts Leaders from 2013-2019.

    Website: FullGallopArts.com

    Facebook: http://facebook.com/fullgalloparts

    Instagram: http://instagram.com/fullgalloparts


  • 400 Years of Inequality: A People’s Observance for a Just Future

    Contains 2 Component(s)

    400 Years of Inequality: A People’s Observance for a Just Future is calling on communities across the country to engage in place-based observances of the 400th anniversary of the 1619 arrival of the first Africans trafficked across the Atlantic Ocean and sold into bondage in the U.S. Our initiative is calling on families, organizations, neighborhoods, and cities to observe the anniversary by telling their stories of oppression and resistance. Inequality is a threat to our health and democracy. To gear up for these observances, our webinar will feature members of the organizing team, Ashley Bernal and Molly Rose Kaufman. They will share the project background and offer tools and resources for people and organizations to activate place-based creative observances for truth-telling and collective healing. 400 Years of Inequality is a coalition of organizations and individuals dedicated to dismantling structural inequality and building strong, healthy communities.

    image About this Webinar

    August 14, 2019 at 3:00PM EDT

    400 Years of Inequality: A People’s Observance for a Just Future is calling on communities across the country to engage in place-based observances of the 400th anniversary of the 1619 arrival of the first Africans trafficked across the Atlantic Ocean and sold into bondage in the U.S.  Our initiative is calling on families, organizations, neighborhoods, and cities to observe the anniversary by telling their stories of oppression and resistance. Inequality is a threat to our health and democracy.  To gear up for these observances, our webinar will feature members of the organizing team, Ashley Bernal and Erika Kitzmiller.  They will share the project background and offer tools and resources for people and organizations to activate place-based creative observances for truth-telling and collective healing. 400 Years of Inequality is a coalition of organizations and individuals dedicated to dismantling structural inequality and building strong, healthy communities.

    Ashley Bernal

    400 Years of Inequality / The New School

    Ashley Bernal is a Ph.D. student in Public and Urban Policy at The New School’s Milano School of International Affairs. Her research interests include the disparate impact on racial minorities and the various ways racial minorities experience US citizenship. Prior to her doctoral studies, Ashley served as a Gender-based Violence Program Coordinator where she created a culturally specific program to better service African-American and LGBTQIA domestic violence, sexual assault, dating violence, and stalking survivors of the greater New Orleans metropolitan area. Currently, she is a research consultant and adjunct professor at the City University of New York’s York College, teaching courses in the Sociology of Race & Ethnicity, Sociology of Gender, and Social Stratification.

    Website: http://www.400yearsofinequality.org/

    Twitter: @400yrs

    Erika Kitzmiller

    400 Years of Inequality / Columbia University

    Erika M. Kitzmiller is a historian of race, inequality, and education whose scholarship focuses on the historical processes and current reforms that contribute to and address inequality today. Her current book project, The Roots of Educational Inequality: Philadelphia and Germantown High School (under contract, University of Pennsylvania Press), traces the history of racial and educational inequality in Philadelphia and one of the city's neighborhood high schools, Germantown High School, over the course of the 20th century from the school's founding to its ultimate closure in 2013. Her scholarship has been supported with grants from the National Science Foundation, Harvard University's Hutchins Center, the National Academy of Education/Spencer Foundation, and Teachers College, Columbia University.  She earned her dual Ph.D. in History and Education and M.P.A. at the University of Pennsylvania and her B.A. from Wellesley College. She lives in Morningside Heights with her husband and young children.

    Website: http://www.400yearsofinequality.org/

    Twitter: @400yrs

  • How Did We Get Here? Understanding the History of Nonprofit Culture

    Contains 2 Component(s) Recorded On: 07/17/2019

    What would it look like if we had a comprehensive understanding of who we are and where we have come from as nonprofit organizations? Could this allow us to evolve, adapt, and ensure relevance in today’s climate? This webinar, the first of a three-part series, will reflect on the history of nonprofits and institutional norms, providing greater context for the structures that we work within. From this framework, the following two webinars will explore alternative approaches to organizational structure, leadership models, and succession planning as a way to empower new leadership, embody inclusivity, and foster equity while furthering the organization’s mission.

    image About this Webinar

    July 17, 2019 at 3:00PM EDT

    Nonprofits are tasked with creating change, inspiring and cultivating future leaders and providing critical resources for healthy community development. However, they are often underfunded and understaffed, conditioning them to act from a place of scarcity or familiarity in pursuit of their mission. With this comes a limited set of possibilities. 

    What would it look like if we had a comprehensive understanding of who we are and where we have come from as nonprofit organizations? Could this allow us to evolve, adapt, and ensure relevance in today’s climate? This webinar, the first of a three-part series, will reflect on the history of nonprofits and institutional norms, providing greater context for the structures that we work within. From this framework, the following two webinars will explore alternative approaches to organizational structure, leadership models, and succession planning as a way to empower new leadership, embody inclusivity, and foster equity while furthering the organization’s mission.

  • Federal Funding for Arts in Transit & Transportation Update

    Contains 2 Component(s) Recorded On: 06/26/2019

    In 2015, the FAST Act was passed into law, prohibiting the use of FTA funds for art in transit project. Join us on 6/26 for a webinar looking at the history and impact of this passage and learn how you can advocate for the return of federal funding for arts in transit projects.

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     About this Webinar

    On December 4, 2015, the Fixing America’s Surface Transportation (FAST) Act (Pub. L. No. 114-94) was signed into law which provides a long-term funding certainty for surface transportation infrastructure planning and investment. Unfortunately, the FAST Act also established a prohibition for use of FTA funds for art in transit projects, disrupting a long standing and highly lauded national tradition. The 2015 prohibitions remove local control from transit authorities and reverses nearly over 100 years of systemic enhancement of our transit systems to the detriment of communities across the U.S. In this webinar, hear from Americans for the Arts staff as they outline the history and impact of this issue and highlight how you can advocate for the return of federal funding for arts in transit projects.

    During this webinar, attendees will:

    • Learn about the federal funding prohibitions for arts in transportation and transit projects
    • Understand the impact of the provisions on communities across the U.S.
    • Leave with information and resources to engage with their U.S. House of Representatives on the issue of federal funding for arts in transportation and transit.

    Patricia Walsh

    Public Art & Civic Design Senior Program Manager, Americans for the Arts

    Patricia Walsh joined Americans for the Arts in 2014 where she works to empower public art professionals, artists and other stakeholders in the implementation of public art in their communities by supporting best practices, case studies, resource development, and peer-to-peer networking.
     
    In her role at Americans for the Arts, Patricia has grown the annual Public Art Preconference to over 300 attendees, moderates the 400+ membership-based Public Art Network, and travels frequently to communities across the country to engage and learn from her colleagues working locally. She designed the Public Art Resource Center, an online portal to increase access to tools, resources, and opportunities for those making public art happen in their communities. She manages partnerships with Smart Growth America/Transportation for America and the American Planning Association and continues to develop strategies to engage allied fields to cultivate policy and practice that supports public art in the built environment across the country.

    Lauren Cohen

    Government Affairs and Grassroots Senior Coordinator, Americans for the Arts

    At Americans for the Arts, Lauren works with the Federal Affairs team in federal lobbying and government affairs activities, including composing position statements, monitoring federal legislation, drafting legislative proposals, coalition building with the Congressional Arts Caucus and other Congressional staff.  She enjoys teaching others how to become compelling arts advocates and how to pursue strong arts policy.  Prior to joining Americans for the Arts, Lauren worked for a member of Congress in the U.S. House of Representatives for over two years where she managed the arts, humanities, and museums portfolio.  Before coming to Washington, DC, Lauren worked for the Colonial Williamsburg Foundation in Williamsburg, Virginia.  There, she held positions in the Education Outreach, Historical Interpretations, and Curatorial departments.  Lauren earned her Master of Arts degree in Public History from James Madison University and her Bachelor of Arts degree in History from the University of Tennessee.  Lauren's passion for the arts began at age three when she first started ballet lessons and continues to this day as she enjoys dance and theater performances, museums, and art shows.

  • Supporting Individual Artists Coffee Chat: Marketing Support for Artists

    Contains 1 Component(s) Recorded On: 06/26/2019

    What skills do artists need to thrive in a crowded marketplace? Join us on 6/26 for a Coffee Chat with Ceylon Mitchell, marketing guru from @m3musician, as we discuss strategies to start, manage, and grow a business for individual artists.

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    Supporting Individual Artists Coffee Chat 

     Marketing Support for Artists

    Americans for the Arts is excited to bring you a monthly series of informal discussions about supporting individual artists. As part of Americans for the Arts ongoing program, Arts Administrators Essentials: Supporting Individual Artists, these monthly "Coffee Chats" are your opportunity to hear from individuals and organizations in the arts and culture field that support individual artists as part of their everyday work. Each month, we will bring you a new topic to support your work with artists. Our topic for June 2019 will be about marketing support for artists.

    What marketing skills do artists need to thrive?

    Join Ceylon Mitchell, Musician and Owner/Director of M3 Music Media Marketing, LLC, as he discusses strategies to start, manage, and grow a business for an individual artist. Learn tips about how you can support musicians and other artists in their journey of growing their recognition and business.

    This project is supported in part by the Emily Hall Tremaine Foundation and the National Endowment for the Arts.

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    Ceylon Mitchell II

    Owner and Director, M3 Music Media Marketing

    Ceylon Narvelle Mitchell II is a professional flutist, arts entrepreneur, educator, and arts advocate in the Washington D.C. metropolitan area. Originally from Anchorage, Alaska and a graduate of East Anchorage High School, he earned a Master of Music Education degree from Boston University and a Master of Music Performance degree from the University of Maryland, in addition to a Graduate Certificate in Multimedia Journalism. Ceylon will continue his education in the Doctor of Musical Arts (DMA) flute program at the University of Maryland in Fall 2019. Recent achievements include the National Music Festival Symphony Orchestra, the Young Alaskan Artist Award, a 2018 Prince George’s County Forty UNDER 40 Award in Arts & Humanities, and a 2019 Prince George’s Arts and Humanities Council Artist Fellowship Grant. Ceylon’s mission is keeping classical music alive, authentic, and accessible.

    An active freelance artist, Ceylon is the co-founder, flutist, and media manager of Potomac Winds, a chamber music collective. Described by the University of Maryland as “magnificent, deeply moving, and a model of alumni pride,” the ensemble is committed to promoting woodwind chamber music as a virtuosic medium through engaging performances of the highest level of artistic expression. As a music educator, Ceylon maintains a private studio in Maryland and serves as the Potomac Valley Youth Orchestra flute choir conductor. He previously served as a teaching artist with the Boston Flute Academy and as the director of the Boston University Flute Ensemble. Ceylon supports performing artists and arts organizations with digital media production and marketing consulting as the owner and founder of M3 Music Media Marketing, LLC, a multimedia organization. Tailored services include photography, videography, and social media marketing. Recent clients include The Clarice, the Arts & Humanities Council of Montgomery County, the Boulanger Initiative, Capitol Hill Jazz Foundation, the Anchorage Festival of Music, and numerous individual artists. Ceylon seeks to equip and empower his fellow performing artists for artistic and marketing success in a 21st-century landscape. Ceylon is also an active arts advocate in the D.C. area, serving as a board member of the Arts Administrators of Color Network and an Emerging Arts Advocates (EAA) member of Maryland Citizens for the Arts.

    Mentors, past and present, include Dr. Saïs Kamalidiin, Ms. Janese Sampson, Professor Leah Arsenault, Dr. William Montgomery, Professor Linda Toote, Dr. Carmen Lemoine, and Sharon Nowak of Anchorage, Alaska, his first flute teacher. Additionally, Ceylon has performed in masterclasses for professional flutists such as Aaron Goldman, Marina Piccinini, Sir James Galway, Paul Edmund-Davies, Trevor Wye, and Marianne Gedigian. He remains grateful to the entire Anchorage music community for preparing him for a promising career in the arts with encouragement and inspiration. Ceylon currently resides in Bladensburg, Maryland with his wife, Denys Symonette Mitchell.

    Twitter: @ceylonmitchell and @m3musician

    Website:  www.ceylonmitchell.com and www.m3musicmedia.com

    Cristyn Johnson (Moderator)

    Local Arts Advancement Program Manager, Americans for the Arts

    Cristyn Johnson is the Local Arts Advancement Program Manager at Americans for the Arts. In this capacity, she develops Americans for the Arts’ comprehensive full-career-spectrum field education offerings to advance competent and informed local, regional and national arts professionals.  She also develops a suite of programs and resources centered around the full leadership pipeline and organizational needs of a diverse workforce. She manages, grows, and cultivates an Emerging Leaders Network, a Mid-Career Leaders Network, and an Executive Leaders Network by building a connected network of arts professionals in the field of practices, who can share their knowledge with the field at large.