Module 4: Assets and Support
About this Module
Artists at the Community Development Table
What do we need to do the work? In arts-based community development, with partners and collaborators across sectors, we look at the possibilities of ‘Arts and ______.’ The arts can be a means to cross sectors to non-arts disciplines, fields, and institutions and to access the funds available in these sectors. We can also look at assets beyond the financial with examining social capital, creative capital, and the validity of the process.
- Identify what is needed to support community development work.
- Outline multiple sources of support.
- Articulate the differences and the assets of social capital, creative capital, and financial support.
- Examine the concept of and best practices for equity in funding.
This module includes:
- A webinar
- An interactive worksheet
- A quiz
Roseann Weiss is a creative advisor and strategist about the intersections of art and community working independently as ART +. She has 30 years of experience in arts leadership in nonprofit arts institutions, community organizations, and gallery settings. Her expertise centers in arts-based community development, community and public arts, artists' professional development, and grant-making. For 14 years, she guided the Community Arts Training (CAT) Institute at the St. Louis Regional Arts Commission, which is an innovative, cross-sector program designed around art as a powerful agent for social change. Among her current projects are Lead Educator for Arts as Civic Engagement program at the Gephardt Institute for Civic and Community Engagement at Washington University and working with Americans for the Arts to create guides, webinars, and workshops for “Artists at the Community Development Table.”
Con is an artist exploring communities. She experiences community by observing pools of knowledge and experience that exist alongside historical rootedness and the complex concept of place. It is a topographical map of wind, weather, and time. It is the science of hard scape. It is multiple layers of memory and story. It is individual and institutional. It can reinforce or bury the human experience.
Con’s work is at the intersection of space and place, a collaboration between consciousness and creativity. She works locally, nationally, and internationally because those virtual lines drawn by humans on the surface of this planet are not real. And yet, she believes they slow us, confine us, stop us, turn us away from each other.