RSC Declarations

Declaration of interest to be part of the RSC facilitator pool ELEANOR BROWNFIELD My experience in community-based art is chiefly through my work with DeLuxe Vaudeville Orchestra’s various tour and residency projects over the last ten or so years (details on request), and more recently with Beacon Dance in the 1906/2006/2106 public art project. I can’t assess any long-term impact on these communities; I just don’t have the data. However, I believe that my membership in Alternate ROOTS since 1982 comprises the longest-term residency I have performed as an artist in any of the many communities in which I have worked. To the degree that we have made art and fostered art within the organism of Alternate ROOTS, I have experience in community-based art, and most certainly in the messy processes of participatory democracy and honing definitions of community. Guiding Principles: Start where you are. Work with what you have. It will be enough. Always be grateful to the Creator. Insist on joy in spite of everything. Together we are stronger than greed and fear. Want to learn? Everything the world is willing to share about art and community. Know and can share? I know that no matter how well we plan there will always be unforeseen circumstances and improvisation is our friend. I know how to listen and can model that. I want to share a passion for participation. I have a severe allergy to unfairness and will break out when exposed to undue amounts of it. With over forty years of my life invested in theater, dance and music as stage manager, writer, performer, audience and critic, plus almost as many years in political and social activism from the 1960s civil rights movement to the present, I will be happy to share whatever seems useful to the endeavor at hand from the accumulated skills and tools I have acquired. JAEHN CLARE My experience in community-based art is rooted initially and primarily in arts education residency work as a Teaching Artist, complemented by a secondary strand of work as an arts administrator focusing on professional development among artists with disabilities. A representative sampling of such endeavors include: Company Member, 1906/2006/2106, Beacon Dance November 10, 2007 ATRR Planning Conference, Oxford, MS November 2 & 3, 2007 TCP, Emory University, Atlanta, GA June 27, 2007 USSF, Freedom Park, Atlanta, GA June 10, 2007 Emory University, Atlanta, GA Contributed to the creation, production and performance of an original ensemble dance/theatre work. IMPACT: I believe my participation contributed additional depth and breadth to discussions re: cultural diversity, acceptance of differences and inclusion in community of those labeled “Other”. Teaching Artist, Summer Arts Workshop July 3–27, 2007 The Townhouse Gallery, Cairo, Egypt Co-facilitated the 2007 Summer Arts Workshop, working with local artists and administrators to provide an in-depth arts education experience for more than 60 international children with and without disabilities; an international collaboration sponsored by VSA arts Home Office, VSA arts of Egypt and the U.S. State Department. IMPACT: My participation as one of the leaders in the project served as an effective role model for the abilities and capacities of individuals with disabilities, for both students and fellow teaching artists. Teaching Artist, WHO I AM, Inner Harbour February–April 2004 Douglasville, GA, VSA arts of Georgia residency Led Youth-at-risk participants in a 10~week residency, including development of original writing and performance work, culminating in a final performance shared at a community event. IMPACT: My participation served as an effective role model for the abilities and capacities of individuals with disabilities, for both students and fellow teaching artists. Significant impact in the areas of self-expression, social skills and peer respect and support was also reported and documented. Teaching Artist, IN’OUR VOICES, Annandale Village July- October, 2003 Suwannee, GA, VSA arts of Georgia residency Led adults with diverse developmental/multiple disabilities in the creation and development of original writing; led participants in the development and production of original performance work based on their writings. IMPACT: My participation as one of the leaders in the project served as an effective role model for the abilities and capacities of individuals with disabilities. Anecdotal evidence from a venue staff member indicates significant impact in the areas of self-expression, social skills and peer respect and support also occurred. I believe my work has impacted these communities by providing a distinctive perspective concerning how we as human beings may engage with challenges and limitations, as well as opportunities and entitlements. My guiding principles are rooted in philosophical Taoism and Unitarian Universalist values, including: • The inherent worth and dignity of every person • Justice, equity and compassion in human relations • A free and responsible search for truth and meaning • The right of conscience and the use of the democratic process • The goal of world community and peace, liberty and justice for all • Respect for the interdependent web of all existence I gratefully acknowledge the wisdom of Dr. Seuss ~ “I meant what I said and I said what I meant…” And I have been inspired by the writings of SARK: “Apply dog logic to life: Eat well, be loved, get petted, sleep a lot … dream of a leash-free world." The work of Thomas Moore has moved me deeply: “It may be more important to live a rich life than a long life.” And I believe that being a good person does not necessarily make one a Brilliant Artist; conversely, being a Brilliant Artist is no excuse for being a lousy human being. I want to learn how to contribute to and foster deep learning amongst persons of diverse backgrounds, experiences, values and beliefs. Specific learning objectives include: enhanced familiarity and facility with Formal Consensus Process; broader and deeper knowledge of the pedagogical underpinnings of contemporary social justice theory and practice; more detailed knowledge of available resources and efforts in the arena of positive, healthful social change and human cultural evolution; and how to reach those not yet in the “the Choir”. Know and can share? I have more than 30 years of training and experience in theatre arts and arts administration. I know that I am capable of learning and applying myself to intentional personal and professional development, and I believe that learning is a lifelong endeavor. I can share personal perspectives concerning how it feels to be labeled “different” and the practical impact of being considered a marginalized citizen. My 27 years of both personal and professional experience in the arena of access and inclusion of persons with disabilities in the arts is a knowledge base I claim, and am eager to share with colleagues working in community-based arts endeavors. KATHIE DENOBRIGA In my very first post-graduate employment (1974), I started a community theatre in a small NC town, which exists to this day. Now it’s true that they’re only doing one musical a year, and I’m willing to bet that it’s pretty mainstream. But I’m also willing to bet that a fairly diverse group of people collaborate on doing something no one of them can do alone, and that they co-create something of beauty and enjoyment that brings life to a town, and contributes to the health of the public sphere. Years later, when I directed community theatre in another NC town, I realized that our stage was one of the few places in the county where black and white folks were becoming comfortable with, friends with, people of another race. The creation of art requires a realm in which people enter with their imagination and humanity, and give their talents freely to each other in the service of a greater good. I think that my leadership as a theatre director changed these communities: I don’t live there anymore, so I can’t say for sure. But it did change me. My work with another larger community is within ROOTS. As one of a team of leaders over the years, as the shepherd of the earliest CAPP conversations, I have seen the ROOTS community change as a result of the work I/we have done. I have also seen the larger art world change as it rubs up against the artists of ROOTS who have gained greater skill in doing their work, and an expanded capacity to talk cogently about the underlying principles and values. Principles? Think first, talk later. Talk less, say more. Suspend ego. Listen hard, and with compassion. Understand where and when you are willing to compromise, and then no more. Try to laugh as much as you can. Honor the wisdom of the group, and beware the internalized superiority that comes from being white, over 50, educated and North American. Ask questions and remain constantly curious. Eat chocolate, or at least prepare food for each other when you can. Want to learn? More techniques for building trust within groups of different sizes, more ways to identify and safely deal with conflict, more analytical skills to be able to understand the larger political/social/economic dynamics that shape our lives, and how to create effective, equally analytical tactics to counter-balance those dynamics. Learn and share? A bunch of group facilitation techniques. The basic principles of conflict management and communication. Basic skills in planning and problem-solving. BOB LEONARD I formally declare my interest in continuing to participate as a part of the RSC team to develop an understanding of the five principles of working for social justice through art making in communities. I've been at this work since about 1972. It's gets a little clearer from time to time but it is always amidst the struggle of new creativity. I believe that the town of Johnson City, Tennessee, was positively impacted by the presence and work of The Road Company while we created new work there from 1975 to 1998, We organized public meetings and civic dialogues about land use, energy alternatives, the struggles of single women in the work place, the loss of regional identity in the commercialization of rural America. We created an arts council, as well as contributing to the development of an arts community. We played volleyball and softball, and gathered up a crowd of like-minded people who recognized the importance of community. I began my discovery of how I can be of use in uprooting racism, a struggle I believed in but long felt unable to enter usefully, through artistic exchanges with Paula Larke and through a couple of extraordinary sessions with trainers from the Institute for Survival and Beyond. Once I found my balance at Virginia Tech, which took a little while, I've worked to move the theater department towards a more active, intentional agenda for inclusion, an MFA program that specifies a focus on public dialogue as an integral aspect of theater-making, and a number of college, university, and community projects - some quite long term - for social justice. I've been an arts organizer within ROOTS, and through a number of other arts organizations including the Community Arts Network (CAN), the Network of Ensemble Theaters (NET), and the Theater Communications Group (TCG). In each of these communities, I've helped frame and activate inclusion as a fundamental principle of community-building, recognizing that inclusion is not simply a passive intention but requires constant pro-active and strategic choices to break past cultural boundaries and habits of behavior. I want to know more about how to do the work I do. I want to get better at it and to be better able to teach others, guide others into their own way. I can share out of my own experience and what I've learned from others. I am particularly interested in deepening my own understanding of how the five principles RSC has identified are applied to all kinds of work for social justice. I am also interested in applying the techniques of Keith Johnstone, acting/improv teacher, to an inquiry into relationships across cultural boundaries. I look forward to working with others who are attracted to the call of the RSC to action for social justice. JEFF MATHER When I was a C/APP artist, I facilitated a multi-generational environmental performance project that activated all of the 'peripheral' spaces of a WPA-era (1935) theater. I worked with students at Morningside School, but also Morningside teachers and alumni who were involved in the theater program at Grady High School. And there was also a performance group made up of parents and one part of the project involved community elders and oral history. I used the C/APP grant money to hire the lighting designer from 7 Stages to light the spaces and I commissioned Rodger French to compose and perform original percussion music to accompany dance performance. Most often, though, the goal of my residencies is the creation of a community-based environmental sculpture. The community comes together to collaboratively design and build a public art project. Sometimes I feel a bit like 'Habitat-for-Humanity', except that we make sculptures instead of houses. Guiding principals: I strive to be as inclusive as possible in my facilitation of the community-based process. I seek input from as many individuals and 'sub-sets' of the community I'm working with as I can, usually engaging people in drawing workshops where they create proposal sketches that go into the mix in the development of a design for the sculpture to be built. In these design workshops, I often explicitly state that I am eager to give 'my power' away, to train young people especially to replace me. Want to learn? What you know and can share: I want to learn how to better co-facilitate collaborative processes with other RSC artists and facilitators. I have a strong background in developing interdisciplinary art in collaboration with other professional artists - and a strong background as a teaching artist directing residencies and working collaboratively with communities. What I'd like to learn more about would be combining these two 'modes' more. CAROLYN MORRIS My experience in community-based art began in 2000 with a four-month community arts residency in the town of Port Gibson, Mississippi. The residency was a partnership between my organization Women Helping Others Advance (WHOA!) and a community-based cultural organization, Mississippi Cultural Crossroads. The residency included partners from the Port Gibson Superintendent of Education’s office, and each of the schools within the town of Port Gibson (Arthur W Watson Junior Elementary School, Port Gibson Middle School, and Port Gibson High School). As an artist who actively seeks to create opportunities through art making that transforms, it was important to work with a community that was in need of some type of healing. Through various networks I was informed that Port Gibson Schools were about to be turned over to the government to be run. This was due to the low-test scores, among other issues plaguing the schools. Having concern for this issue I investigated who I needed to speak with in the town to establish a relationship, and possibly create an opportunity to work within the community. That is how I learned about Mississippi Cultural Crossroads, and the organization’s Executive Director, Patty Crosby. I set up a meeting with Patty expressing my interest as an artist to possibly work in her community. She essentially interviewed me, and once she was satisfied that my intentions were genuine, to work in her community for positive transformation, she became my ally. Becoming my fiscal agent for a humanities grant to support the project, Patty and I forged partnerships with the local school district. I made numerous trips to Port Gibson to meet with teachers at each of the respective schools during their afternoon staff meetings. In those meetings I solicited feedback of the needs they had as well as their students. In addition, I shared the vision for some of the artists I thought could help meet the expressed needs. The primary partner for this particular project was the Port Gibson Middle School’s Social Studies teacher. The middle school had the greatest of issues; the lead social studies teacher sponsored an annual Cultural Day at the end of the schools year. Therefore, the residencies were developed over the course of four months and served the Elementary and High School, but the culminating event became the Cultural Day event at the end of the school year. The greatest impact this project had on that community was that is served as a door opener for more artists to participate in Port Gibson School District. Shortly after this residency I was hired by the State Arts Commission and managed the tour roster and was instrumental in creating many post residency activities that continued to serve Port Gibson beyond the one I created. In 2002, RSC conducted a one-day workshop for members of the Community Arts Forum in Lexington, Kentucky as part of our 25th Anniversary Focus On Community Arts South (FOCAS). I met with members of the Community Arts Forum nine months prior to the training, as well as spoke to citizens of Lexington in a town hall meeting on behalf of RSC in preparation of the training. I was instrumental in developing the core curriculum for this training along with my teacher, Nayo Watkins. I created a component of the workshop, with an exercise that empowered participants to re-imagine their community with the arts as a central building block. A major outcome of my contribution was helping participants lay the preliminary groundwork for projects that they would carryout beyond the training daylong training. In 2001, Alternate ROOTS with the Mississippi Arts Commission produced, “Animating Communities through the Arts.” At the time I was both a ROOTS members and employed by the Commission. I led a workshop on using storytelling as a tool for community building, in addition to the funding segment of the training. Once again my work served as a resource-leverage for the greater good of others. At the time, I was the director of the Community Arts Program at the Mississippi Arts Commission. In the year following the training, the Commission received more grants from social service and non-arts entities than in the history of the agency. I was credited by Executive Director, Betsy Bradley as being responsible for this insurgence of non-arts applications that year. Guiding Principals: A guiding principal in my work is collaboration for the greater good of myself and others. I have a passion for envisioning new collaborative projects, and for seeing the expansive potential of those visions. Another guiding principal for me and my work is “value creation”. I seek to engage in collaborative work that is value creating for all individuals engaged in the work. One of the things that attracted me to Alternate ROOTS was reading in the organization’s publication of all the exciting collaborative projects ROOTers were doing. In addition, the fact that much of what I was reading about was “value creating” was a natural alignment to my own work. Learn? I want to learn new art forms and build upon existing forms that I embody for community growth and transformation. I want to do this in a way that contributes positively to impacting citizenry in the communities I live and work. I want to learn how to be a better facilitator of processes; like Nayo Watkins who sees every person, sees and listens to just about every thought; and in my humble opinion, makes others feel a part of what might be overwhelming process. Know and can share? I know the story circle process; I know how to sing and teach community singing; I know how to write grants and develop resources; and I know how to network within communities. LAURA SCHANDELMEIER As a solo performer from 1994-2003 my work centered on women as viewed by contemporary culture. This theme manifested in a series of movement-based performance works performed on and around a 2’ x 2’ wooden box. I began collaborating with Stephen Clapp in 2004. Clapp’s commitment to undoing racism and oppression has great symbiosis with my own sensibilities. This union has inspired three evening-length duet productions, Rappaccini’s Daughter, based on Nathanial Hawthorne’s short story which refers to isolationism, the AIDS epidemic, and intercultural relationships; The Dragon’s Project: Power Play, which looks at power struggles and equitable partnerships between men and women; and Portals/The Open Door Project, which was created through community events examining the five major rites of passage (including story circle and other arts-based strategies) and a workshop for 6th graders about transitioning from elementary school to middle school. We have also designed and presented movement-based workshops based on the principles of the Alternate ROOTS Resources for Social Change Program and are committed to further collaborations. Our current project, Haunted, unearths local lore and ghost stories of the diverse community in which we live and work – Mount Rainer, MD, where some say the story behind “The Exorcist” took place. Set to an original score by vocal duo Leah and Chloe Smith of Rising Appalachia, the work reveals commonalities among people through relationships to the past, the unknown and community histories. In developing this work we will collaborate with a local muralist to create a community art project – the painting of a Ouija board on a dance floor that will be used as the set for the production. We are also applying to our local Humanities council to facilitate two free community events in which we will use the Story Circle process to learn community stories surrounding this story of demonic possession. As a Master Teaching Artist for Wolf Trap Early Learning Through the Arts I conduct residencies both locally and across the US to train Early Childhood Educators strategies for incorporating arts into curriculum. These residencies, catering to underserved communities and Head Start programs, offer strategies that support literacy skills, aid in the prevention of obesity, and tools for observation and assessment. I also facilitate a Professional Development workshop for Wolf Trap – Taking Chances Making Dances: Strategies for Early Childhood Literacy through Stories and Movement. I also conduct annual residencies for our local elementary school and teach regularly at our local Montessori School. Recent brain research proves that movement is not only a developmentally appropriate practice for implementing curriculum in the early childhood classroom, but helps to connect brain synapses essential for reading readiness. Guiding Principals: My guiding principles are in alignment with those of RSC – Shared Power, Equitable Partnerships, An Aesthetic that includes beauty and justice, Individual and Community Transformation, and Open Dialogue. Want to learn? I am interested in RSC’s ongoing conversation around aesthetics and each of the five principles of working in community. I would like to learn how to become a better facilitator – new strategies and tools for better communication. I would like to learn more about conflict resolution and all that anyone cares to share about how to imagine a peaceful society. Know and can share? I am happy to share strategies for working with community, working with youth, and for artistic collaboration. I am also a Fieldwork facilitator and would be happy to share that methodology of sharing work and offering feedback.