Updates — U.S. Department of Arts and Culture

USDAC

CALL FOR NOMINATIONS: The People’s WPA! DEADLINE September 25

Like many of you, we’ve been wondering what is within our unique capacity to respond to COVID-19. Like many of you, we've been inspired by the myriad ways that artists and creative interlopers have rallied to meet the needs of their communities.

Informed by our many conversations with advisors, friends, and YOU, we’re so excited to launch The People’s WPA! Over the course of Fall and Winter, 2020 we'll be embarking on a listening, learning and storytelling project with the goal of convincing policymakers to invest in arts, culture-making and newly reimagined sectors of labor critical to our collective healing and survival. Are you or someone you know working to build a more just, equitable and sustainable world through an existing project? If so, let us know about it and join us in crafting The People’s WPA!

Please nominate yourself or someone you know to be part of the inaugural People’s WPA cohort by September 25, 2020. CLICK HERE FOR MORE INFORMATION, or visit usdac.us/peopleswpa.

 
People's WPA poster by N'Deye Diakhate

People's WPA poster by N'Deye Diakhate

 

Juneteenth: Resources for Imagination + Abolition

Black Lives Matter. They matter today, on Juneteenth 2020, and they mattered on the first Juneteenth in 1865. Black lives have always mattered— what’s changed is the way that our nation sees them, protects them, values them. That’s why the work of creativity, radical imagination, and cultural organizing are so critical. We have the power to push that way of seeing toward equity, compassion and solidarity.

Below are some resources— not just interesting pieces, but things to leap into, steps to take today— to support Black lives in your community. Happy Juneteenth.

  • #SixNineteen: click here to find a march in your community and join the Movement for Black Lives. Be sure also to read through their guiding principles for staying safe while protesting.

  • #DefundThePolice: Have you wondered what a defunded police department would really mean for your community? Check out this primer from the Movement for Black Lives on what it might look like. And here’s a great New Republic piece that goes even more in-depth on the concept.

  • #8toAbolition: If you’re curious about concrete solutions to address the #DefundPolice debate, here’s a critical resource for radically reimagining a world that stretches toward abolition, not just reform.

  • Center Black Trans Lives: As protests and organizing push to reimagine how the country treats and protects Black lives, it’s critical that we center Black women, Black trans women in particular. Take a look at this piece to see just how urgent this is.

  • 10 Rules to Fight for Black People’s Freedom: Read through this manifesto by #BlackLivesMatter founder Patrisse Cullors, and use it to have a conversation at your workplace, school, place of worship, community organization, or kitchen table.

  • BLK Paper: Incredible depictions of rage and hope by Black artists, photographers and graphic designers. Download the images, print them out, wheat paste them, stick them to light poles, share them with friends and inspire the neighborhood to join the movement.

  • City Budgets Belong to Us: Check out this resource and see how your city/town invests in policing. If it doesn’t sit right with you, join the debate to #DefundPolice, contact your local city officials and ask them the tough questions.

  • Call The Halls: Is this the first time you’ve reached out to elected officials? Check out this comprehensive guide on the most strategic ways to outreach your representatives.

  • Reparations Summer: A powerful, inaugural Juneteenth call for Reparations Summer—a large-scale campaign for organizing and moving resources to Black land stewards.

  • DIY Imaginings: The big-picture conversations we’re in right now require new ways of imagining our world. Whether we’re envisioning new forms of governance and public safety, or reparations and prison abolition, social imagination is a muscle that needs exercising. Use this free guide from the USDAC for tips on how to host an arts-based dialogues in your community that stretches imagination for the world that is possible and strengthens resolve to bring it into being.

Onwards!

Science Facts, Science Fictions- Call #2 Summary

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Science Facts, Science Fictions

What will happen if we don’t take action on climate change? The latest Intergovernmental Panel on Climate Change (IPCC) report presents different visions of the future depending on the action and policies that we take. These visions range from an equitable utopia to a fascist dystopia. Join us to learn about the science behind climate change predictions, and to hear stories of creative leaders who imagine with their hands, creating the best case scenarios for a just climate future through their visions and community work. 

Our conversation on how artists and cultural workers can get involved with a Green New Deal continued with Ananda Lee Tan, Demetrius Johnson, Kali Akuno, and Carrie Schneider discussing the visionary roles that BIPOC (black, indigenous, and people of color) and artists play in the movement for climate justice. We were inspired by your enthusiasm, and the steps that you have taken since our last call to inspire your communities towards action. (Want to access the call recording? Sign up here and we’ll send you the link—and other goodies!)


What did we learn?

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We began with a briefing about the science and history at the foundation of today’s fight for a Green New Deal.

Rachel Schragis, our Minister of the Bureau of Energy, Power, and Art,  walked us through some of the basics of the 2018 Intergovernmental Panel on Climate Change report.  She explained the report’s concept of the “Shared Socioeconomic Pathways”-- scientific and sociological predictions of what directions the world could go, and what they look like for the climate.  The pathways point to the conclusion that it’s social questions: will there be war or peace? Will we invest in education and fight for economic equity? that most determine whether the world will address the climate crisis.  

Ananda Lee Tan, Climate Justice Alliance, emphasized the concept of Just Transition--a vision of a shift from an extractive economy to an equitable one, lead by the communities most impacted by the crisis, and redressing historic harms.  He spoke about the history of the movement for a Just Transition, and some of the key moments where community members from across the US and the world have worked together to build a vision of what it will take to shift from a “dig, burn, dump” economy to an economy of social and ecological wellbeing. He posed the question of what it will take to make the Green New Deal an enactment of Just Transition--it’s possible, but not a certainty.  “ You can download the briefing here. 

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What does a climate justice platform centered in indigenous sovereignty look like? Demetrius Johnson from Albuquerque Red Nation spoke about how the Red Deal, proposed by the Red Nation, encompasses the climate justice demands of a Green New Deal while also addressing areas of struggle including: End the Occupation, Heal Our Bodies, and Heal Our Planet. He connected the Red Deal to local efforts to protect Chaco Canyon, a Pueblo and Navajo sacred site in Northern New Mexico, from oil and gas development. Read the full Red Deal platform here.

How are communities embodying the principles of Just Transition? Kali Akuno, Executive Director of Cooperation Jackson, spoke about their work to realize a Just Transition.

in Jackson, Mississippi. Cooperation Jackson’s Just Transition plan includes building community land trusts, worker owned cooperatives, food sovereignty, a network of eco-villages, and policy transformation on a municipal level. Kali emphasized that the policy for a Green New Deal needs to be shaped by grassroots efforts, noting that “it's often easier to act a new way of thinking rather than to think a new way of acting...this is intentional cultural development.” More examples of Cooperation Jackson’s work on utilizing art and imagination to transform community can be found on their Facebook.

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And finally, how are artists responding to and visioning an environmentally just future? Houston-based artist Carrie Marie Schneider presented about her project Washing Water, a way to heal trauma and build community post-Hurricane Harvey. Carrie created a disco fish tank in which participants could make waterscapes and, through play and creativity, reimagine their relationships with water. Carrie’s work reminds us that in the future, artists will need to be both healers and visionaries when it comes to climate change. Learn more about Carrie’s work at WashingWater.com, and watch her presentation here.

What did we hear?

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During the breakout groups, many of you expressed gratitude for the Just Transition framework that centered BIPOC communities, and were inspired by the way that Cooperation Jackson and Washing Water addressed climate change on the local, and even bodily level. During the Q&A session, you were curious about how to build momentum on the grassroots level in order to make policy advocacy possible. Our speakers emphasized utilizing art to find moments of connection and hope, while at the same time not romanticizing the impact of climate change and other injustices. Our speakers also emphasized that modelling possibility at the grassroots level through art, community organizing, and creative uses of public space is what ultimately leads to policy change.

What’s next? 

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We highlighted the conversation using pieces of our graphic recording, done in real time by Emily Simons! You can download the recap bundle to access the full picture here.

We hope to see you on our final call! Join us for Building Strategy and Co-Creating Culture with Sunrise Movement and Groundwater Arts on September 5 at 5pm PST/8pm EST. 

Some of you have already taken action towards organizing your communities, such as organizing watch parties and sharing the information in our briefings. In our final call, we hope to take it a step further and build with you about how we can coordinate our efforts around the upcoming September 20 Global Climate Strike and beyond.

Sign up at usdac.us/gnd to make sure that you receive the registration link and updates about this series!

CULTURE/SHIFT 2018 Recap: Welcoming Each Other Home

At the USDAC National Cabinet meeting that preceded CULTURE/SHIFT 2018 (the people-powered department’s second national convening), a Cabinet member remarked that we have uncanny timing. The prior CULTURE/SHIFT took place just ten days following the 2016 Presidential election; and though few of us foresaw the outcome, all were grateful to be welcomed into a supportive community of people from many places who shared a commitment to culture as a path to equity, justice, and love. This time, when we gathered on November 1st in Albuquerque for CULTURE/SHIFT 2018, another election was just a few days away, and in a moment marked by intense organizing and mingled hope and fear, the mood of the body politic was divided.

On opening night, we stood together in the chill air of Albuquerque’s Civic Plaza to witness a beautiful acknowledgement of ancestors offered in song and blessing by Kansas Begaye (Diné) and Nicolle Gonzalez (Diné), to hear welcomes from the City’s Mayor Tim Keller and Hakim Bellamy, Deputy Director of the Cultural Services Department, CULTURE/SHIFT’s host partner. USDAC Minister of Activation and Collaboration and an Albuquerque native, Gabrielle Uballez, reminded the hundreds assembled there that

We are people who place our gifts at the service of community, equity, and social change.

We are more powerful than we think.

We are change.

And at a time marked by voter suppression, troops massing along the border, and violence directed at so many communities, Gabrielle said,

This weekend, as CULTURE/SHIFT-ers and USDAC Citizen Artists, we are that diverse, inclusive, beautiful group of people who is figuring out how we use our gifts in creativity, arts and culture to live together.

I invite you to take this energy and vision we collectively create this weekend back home with you into your homes, schools, neighborhoods, cities, states, and regions so we can show up as our whole selves to make U.S. who we really are and who we really want to be. Welcome! Welcome! Welcome!

Once again, we’d been welcomed into a true community, and the mood shifted. A path opened at our feet, marked by farolitos (sometimes called luminarias), small candles protected from the wind by paper bags. Carrying them, we wound our way into the convention center for a performance especially created for the occasion by The EKCO POETS— Maiyah King, Valerie Martinez, Michelle Otero, and Mónica Sánchez. And CULTURE/SHIFT 2018 had begun!

Participants process from Civic Plaza to the Convention Center for the welcome ceremony

Participants process from Civic Plaza to the Convention Center for the welcome ceremony

It was a full and rich three days, sold out with nearly 400 participants from the Southwest and around the U.S. taking part in more than 50 workshops, two plenaries, opening and closing ceremonies, and a culminating dance party. You can find a list of all the sessions here. Many of them were recorded on audio or video: scroll down on this page for a complete list. The Facebook album can be found here and there’s a great selection of photos on our website here.

CULTURE/SHIFT 2018 was infused with ancestral invocation and healing, participatory song, pop-up play, tools for making change on a neighborhood, city, and state-wide level, policy deep dives, movement and embodiment, calls to action, delicious food, cultural strategy, radical imagination, deep connection and listening, and raw honesty about both the grief and fear and the hope and possibility of these times.

With so much to choose from, it’s hard to know what could capture the spirit of CULTURE/SHIFT for those unable to attend, other than to say it was all ages, cultures, faiths, genders, abilities, all learning, all belonging, all engaging, all the time.

“This Moment: A Community Plenary,” the opening session on Friday morning, November 2nd, expressed it well.

You can watch the entire plenary on Facebook video here. After an acknowledgment of Tewa lands by Daryl Lucero of Isleta Pueblo and welcomes by Shelle Sanchez, Director of Albuquerque’s Department of Cultural Services and by USDAC Chief Instigator Adam Horowitz, one by one, six powerful Citizen Artists offered us five minutes each of deep sharing, and in between each pair of offerings, we turned to our neighbors to share our responses.

Frederick “Wood” Delahoussaye, Artistic Director of Ashé Cultural Arts Center in New Orleans, welcomed us home with a powerful short video originally created for New Orleans homecoming after Katrina, now replayed every August 29th. Then Wood spoke to us of an idea of home that encompasses everyone. “This weekend,” Wood said, “I want to offer you a chance to come home….Who you love, how you love, if you’re done with love, consider this space to come home. Take a moment, turn to your neighbor, and say ‘Welcome home.’” He was followed by Candace Kita, Cultural Work Manager of the Portland, Oregon-based Asian Pacific American Network of Oregon, welcoming us to bring all we are by sharing one of her own loves that isn’t always welcome wherever she goes: astrology. “I wanted to talk about astrology as an unconventional medium that moves us toward a lot of the same goals we have for cultural work: building connection, creating new narratives for understanding ourselves and the world, and healing in this divisive political moment.”

After an interlude of dialogue in pairs, Daniel Banks, Catalytic Agent on the USDAC National Cabinet and Co-Director of DNAWORKS, led us in breathing together and spoke about how so much that is being validated by science reinforces what many artists working in community know about the workings of our brains and breath to create connection, nourish creativity, generate empathy, and hold space for healing. “Breathing allows us to learn new things. In theater, our breathing is synchronized. Theater creates spaces of heightened understanding …[s]cientifically speaking, theater heals people and saves lives.”

After another dialogue interlude, Lulani Arquette, Catalyst for Native Creative Potential on the USDAC National Cabinet and CEO of the Native Arts and Cultures Foundation, shared that her ancestors were kahuna kalaiwa'a (master canoe carvers) and her great-uncles paddled with Olympic champion Duke Kahanamoku. Providing context for “I Ku Mau Mau,” a powerful Native Hawaiian chant she taught, she explained that it embodies the values of persistence and community embedded in the communal search for the right tree and the massive participatory process of bringing it home and turning it into a canoe.

Tannia Esparza, Executive Director of the Albuquerque-based Young Women United, “a reproductive justice coalition led by and for women of color,” came next, sharing her experience in organizing successful community-wide rejection of a ballot measure that would have eliminated abortion care. “We took it out of the polarizing narrative of pro-life and pro-choice, and flipped the script…to make it about people’s decisions, whether or not we agreed with abortion access itself.”

The topic for our third dialogue looked to the future: What seeds are you planting now that you hope to see grow and nourish future generations? Many people rose from the audience to share what they had heard, said, and felt. Visual artist Beverly Naidus, Associate Professor of Interdisciplinary Arts, University of Washington – Tacoma, said, “It’s extraordinary to feel that you’re part of a national, maybe international group of insiders, rather than being an outsider, and to feel that you are resonating with the room in so many different ways. I thank you all for being here. I have so much gratitude.”

Charon Hribar of the Poor People’s Campaign leads the closing song of “This Moment: A Community Plenary”

Charon Hribar of the Poor People’s Campaign leads the closing song of “This Moment: A Community Plenary”

Chief Instigator Adam Horowitz offered a closing that ended this way: “May we continue conjuring futures different from the ones the powers-that-be would have us believe are the only ones possible. And may we vote on Tuesday!”

This plenary ended with a rousing song led by Charon Hribar, Co-Director of Cultural Arts for the Poor People’s Campaign: A National Call for Moral Revival, who was joined onstage by a group of Citizen Artists who’d taken part in the previous evening’s “Happiest Hour of People’s Songs,” co-led by Charon and Santa Fe artist Alysha Shaw. Charon taught a new call-and response song written at a Poor People’s Campaign gathering by Minnesotan Ruth MacKenzie. Here are the first and last verses of “Goin’ On”:

There’s a racial justice movement goin’ on, goin’ on

Put your ear to the ground, feel the power movin’ around

There’s a racial justice movement goin’ on


There’s a cultural revolution goin’ on, goin’ on

Put your ear to the ground, feel the power movin’ around

There’s a cultural revolution goin’ on, goin’ on

Our gratitude to all who planned, prepared, presented, brought their hearts, souls, and minds to the convening, and together, welcomed each other home to CULTURE/SHIFT 2018! May all that you gave be returned to you a hundredfold!

Rise for Climate, Jobs, and Justice with the EPA!

Rise for Climate, Jobs, and Justice with the EPA!

On Saturday, September 8, 2018, people across the U.S. are Rising for Climate, Jobs and Justice on the occasion of the global climate summit being held in San Francisco. Plug in with your art and yourself to one of the hundreds of events around the U.S. and the world!


USDAC Welcomes 10 New Outposts!

USDAC Welcomes 10 New Outposts!

A few months ago the USDAC put out a call for groups of Citizen Artists to form local Outposts committed to enacting USDAC values in their community. It’s our pleasure to introduce the newest Outposts to join our national network. These dynamic groups are situated in rural communities, urban centers, and college towns. They champion issues ranging from equal representation in the arts to creating space for artistic action based in love and care, to holding dialogue for community transformation, and much more.

Statement Against June 2018 Border Policy and Muslim Ban

Statement Against June 2018 Border Policy and Muslim Ban

Today, on Independence Day, we are asked to join in a national celebration of human rights, liberty, and self-determination. But our values are only as real as our actions, and judged by our actions, liberty is in jeopardy every day. The ongoing separation and detention of families at our southern border is a moral crisis that strikes at the root of democracy.

Amp Up Your Local Organizing: USDAC Outpost FAQs

People across the U.S. have told us they want easy ways to connect locally through the USDAC for support, sharing, and collaboration. That’s why we started a national network of local USDAC Outposts. An Outpost is a group of four or more individuals committed to enacting USDAC values in their community. The next deadline to apply is Friday, 25 May. More info here.

If you’ve been thinking about starting an Outpost in your community but have some questions first, read on for answers. If after reading these FAQs you want to know more or talk things over, we’d be happy to schedule a 30-minute call with you!

  • I don’t know three other people in my area who want to start a USDAC Outpost. How do I connect with other Citizen Artists in my area to start one?

Hold a founding meeting: invite friends, neighbors, colleagues, allies, and acquaintances to imagine and plan what your Outpost could be. And remember, start out as you mean to go on! Invite a core of people that reflects your commitment to inclusion. Extend invitations to people of all ages, races, genders, identities, abilities, and orientations.

You can find more tips for forming your Outpost, including a suggested agenda for holding a founding meeting, in the Outpost Toolkit.  

  • I’m not sure I’m ready to apply by the current deadline. How often does the USDAC hold an open a call for Outposts?

The best time to start is now! But if you can’t meet the current deadline, the USDAC opens applications for new Outposts three times a year, in  October, February, and June.

Charleston Outpost

Charleston Outpost

  • What kind of time commitment is involved once an Outpost is established?

On average, Outpost organizers spend a few hours per month on Outpost work/play. We’ve provided detailed information on activities and time needs for your jumpstart project—three model project ideas and a way to create your own! We can help tailor your Outpost plans to available time and person-power, so don’t be shy about asking: hello@usdac.us.

  • Will starting an Outpost take time away from the important cultural organizing work we’re already doing in our community?

No. Outposts are here to amplify and connect what you already do and to give you access to USDAC tools and learning experiences that support your work.

  • An Outpost already exists in my area but I don’t know how to join. Can the USDAC connect me?

Yes! All current USDAC Outposts can be found here, and there’s contact info for each one. It may take more than one Outpost to serve larger communities too, so feel free to explore starting one in your neighborhood or with a special focus. If you have additional questions please reach out to us at hello@usdac.us.

  • Does the USDAC provide funding for Outposts?

USDAC does not currently provide substantial direct funding. We do provide a batch of USDAC swag, a web listing, and all the technical assistance you need to boost your Outpost’s fundraising efforts.

Once your Outpost has completed your 6-month jumpstart project you’ll be eligible to apply for a micro-grant.

Harrisonburg Outpost

Harrisonburg Outpost

  • I see that Outposts are required to do a jumpstart project within their first six months, I don’t know what kind of project to take on. Can the USDAC help me figure it out?

Yes! You’ll find ideas and recommendations for jumpstart projects in the Outpost Toolkit. The USDAC also has other resources and toolkits to inspire your collective action, but if you don’t see something that fits, we’re here to help!

  • I’m part of an existing group or organization that’s aligned with USDAC values. Can we become an Outpost?

The USDAC has many Affiliates—existing organizations, coalitions, collectives, and networks aligned with USDAC values. Affiliates also get listed on the USDAC site, invited to join in Citizen Artist Salons and Actions, and linked into our social media and storytelling efforts. Check out the criteria and the simple application process here, and if you’re not clear whether becoming an Affiliate or Outpost is right for your group, feel free to get in touch:  hello@usdac.us. We can set up a call to discuss it if you wish.

  • Do Outposts have to be U.S.-based?

At this time, yes. The USDAC’s focus is domestic. We’re exploring connecting some type of international network in the future, but that will take time. In the meantime, we love being in touch with colleagues and allies abroad, so please drop us a note so we can get acquainted. And feel free to use our Toolkits, Guides, and information wherever you are!

 

Honor Native Land: Are You Hesitating? Acknowledgment FAQs

Back in October, the USDAC launched Honor Native Land: A Guide and Call to Acknowledgment, calling on all individuals and organizations to open public events and gatherings with acknowledgment of the traditional Native inhabitants of the land. Since then, more than 7,000 people have downloaded the Guide and many have put it advice into practice, with hundreds signing the pledge to make acknowledgment a regular custom. 

Have you been hesitant about acknowledging Native lands at your event? We hope these FAQs will clear things up!

I like the idea, but shouldn’t an Indigenous person be the one to offer acknowledgment? I’m not Native American.

Cultural democracy—the USDAC’s animating principle—says we all share responsibility for a social order of belonging, equity, and justice. If the hard work of confronting and overturning dis-belonging and injustice is left to those most directly affected, everyone else is shirking this collective responsibility. Acknowledgment isn’t a favor others do for Indigenous people. Just like taking action to stop someone from disrespecting or insulting others on account of their gender, orientation, ethnicity, or religion, acknowledgment is a step toward cultural democracy. 

I’m really nervous about making a mistake. What if I mispronounce something? What if I do it wrong?

The most basic forms of acknowledgment we recommend in the Guide are very simple, for instance: “I would like to acknowledge that this meeting is being held on the traditional lands of the ________________ People, and pay my respect to elders both past and present.” It is fairly easy to find the name(s) pertaining to your region. (The Guide is full of suggestions as to how to research this, connecting with local Native organizations, Indigenous studies programs at universities in your region, and online resources.) Much information is available through this online Native Land map; it is often possible to learn correct pronunciation of tribal names by clicking their links on that map. 

If fear of making a mistake trumps doing the right thing, we’re in trouble! If you try acknowledgment with an attitude of sincerity and humility—asking to be corrected if you stumble—most people will respond in kind. 

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What about all the other people who lived here—the Africans who were brought against their will to the communities of color pushed out to make way for gentrification? Shouldn’t we acknowledge them too?

The Guide says that “[f]or more than five hundred years, Native communities across the Americas have demonstrated resilience and resistance in the face of violent efforts to separate them from their land, culture, and each other.” They may have been the first on this landmass harmed by colonial policies, but by no means the last. If you wish to broaden your acknowledgment, the Guide also suggests a longer acknowledgment formula:

“Every community owes its existence and vitality to generations from around the world who contributed their hopes, dreams, and energy to making the history that led to this moment. Some were brought here against their will, some were drawn to leave their distant homes in hope of a better life, and some have lived on this land for more generations than can be counted. Truth and acknowledgment are critical to building mutual respect and connection across all barriers of heritage and difference. 

We begin this effort to acknowledge what has been buried by honoring the truth. We are standing on the ancestral lands of the ________________ People [if possible, add more specific detail about the nature of the occupied land]. We pay respects to their elders past and present. Please take a moment to consider the many legacies of violence, displacement, migration, and settlement that bring us together here today. And please join us in uncovering such truths at any and all public events.”

What about more than an acknowledgment: a prayer, ceremony, or performance? Is it okay for me to try for that?

There are many possible steps beyond acknowledgment. All should be offered by Indigenous people. When members of one Native people visit the territory of another, they may engage in a formal exchange of greetings, gifts, and blessings. Artists or spiritual leaders whose tribe’s traditional lands are the site of your event may be invited to offer a traditional cultural protocol or to acknowledge ancestors with a song, prayer, or ritual. Whether you are non-Native or Indigenous, it is perfectly fine to reach out to local Indigenous organizations or individuals with an invitation like this, so long as it is done respectfully. It is important to offer an honorarium or gift as appropriate to the individual elder, artist, or spiritual leader invited to take part in this way. 

You say “Acknowledgment by itself is a small gesture. It becomes meaningful when coupled with authentic relationship and informed action.” What kind of action? I’m worried that we will be asked to change our programs or staffing or governance in ways I can’t make happen. Higher-ups could be upset if I open the door to requests they won’t grant.  

The USDAC understands acknowledgement as a beginning, a possible opening to greater public consciousness of Native sovereignty and cultural rights and toward correcting the stories and practices that erase Indigenous people’s history and culture, toward inviting and honoring the truth. To bring about equity, belonging, and justice, things have to change. The first steps toward that culture shift are awareness of what has been and what could be and public acknowledgment of those realities. 

For non-Native organizations, entering into dialogue and relationship with Indigenous people calls for respect and reciprocity, deep listening and truth-telling. There is no immunity from facing these truths. Let us help you strategize about how to proceed: contact us at hello@usdac.us.

We would love to hear about your experience with acknowledgment. A future blog will feature acknowledgment stories from across the U.S. Please share texts, photos, or any other material you like that will help others understand your own process of acknowledgment. Just write to us at hello@usdac.us. We’ll ask your permission before using your experience in a future blog post. 

Hellos and Goodbyes at the OOI

The Office of Instigation (OOI) is the USDAC’s Organizing Team—the folks who plan and coordinate our national actions, shepherd our communications, cultivate partnerships, raise funds, connect and grow the network of Citizen Artists, create resources and learning opportunities, and do so much that’s needed to sustain and amplify the people-powered department’s work.

Today we are delighted to introduce three new people who are joining Chief Instigator Adam Horowitz and Chief Policy Wonk Arlene Goldbard in the OOI; and to express our gratitude to those who have given so much and are now moving on.

Please welcome:

Minister of Collaboration and Activation Gabrielle Uballez is a cultural organizer, educator, and art omnivore. Her passion for equitable arts access is rooted in 20 years of experience, at every level, in community-based arts and platforms that support artists of color. She most recently served as the executive director of Working Classroom, a grassroots arts organization of which she is an alumna.

Gabrielle will be working full-time on the USDAC’s organizing efforts, reaching out to Affiliates, Outposts, and in all the many ways individuals and organizations make the USDAC work for their local communities and for cultural democracy. "I knew I had to be a part of the USDAC when I saw the visionary Cabinet and network of affiliate organizations and Citizen Artists,” she told us. “These are people I will roll up my sleeves with to build a nationwide, grassroots movement toward cultural equity and belonging!" 

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Gabrielle has served at and is associated with: the Studio Museum in Harlem; Crescendo Cultural at the National Museum of Mexican Art; the Western States Arts Federation Emerging Leaders of Color network; the National Association for Latino Arts and Culture Leadership Institute; the Creative Facilitation Gathering design team at the Academy for the Love of Learning; apprenticed under chef Zarela Martinez; grant panelist for the National Endowment for the Arts; and served on local community boards.

Gabrielle received her B.A. in Art and Art History from Pomona College and a certificate from Stanford University’s Graduate School of Business Executive Program for Non-Profit Leaders. She is a proud Latina, wife, and mother of a Chinese-Chicanx child, currently living in her hometown of Albuquerque, New Mexico.

Tiffany Bradley is the part-time Chief of Implementation, helping with systems and social media to ensure that all of the USDAC’s moving parts work together. Her career reflects her lifelong love of the arts across disciplines and cultures. She is the founder of Colored Criticism, a media platform for cultural heritage stories. Her focus is intersectional, interpersonal, and interdisciplinary. Tiffany has worked in audience development at Race Forward, Americans for the Arts, and Fractured Atlas. Her writing has appeared in The Nation, Colorlines, Racialicious, and the Americans for the Arts blog. As a Fulbright scholar in Museum Studies, she worked with a variety of nonprofits in Israel and Palestine. She has studied at the American University in Cairo, the University of Haifa, and Al Quds University. Tiffany holds a B.A. in Africana Studies from Brown University.

"Since my first encounter with the USDAC,” said Tiffany, “I've known this group was committed to equity. I'm looking forward to connecting Citizen Artists across the country through social media, in-person events, and more!"

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The USDAC is thrilled to be in a consulting relationship this year with Minister of Abundance Ericka Taylor, a writer, facilitator, and consultant based out of Washington, DC who has been helping us explore and develop systems that individual donors, foundations, and other funders can use to support the people-powered department’s work.

Born and raised in Nashville, TN, Ericka has spent the bulk of the last 20 years working for social justice organizations. Her career has spanned community organizing, philanthropy, and fundraising. She earned her BA in English from Cornell University and an MFA in Creative Writing, with a concentration in fiction, from the Inland Northwest Center for Writers at Eastern Washington University. She has served as a member of the Board of Directors or Steering Committees of the National Organizers Alliance, Progressive Technology Project, Youth Education Alliance, and the National Priorities Project and is currently a board member of the Western States Center, and La Clínica del Pueblo.

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Why consult with the USDAC? “When I was growing up,” Ericka explained, “my dad was a photographer and painter, while my mom sang, my sister drew, and I wrote. There was never a question about the value of the arts. As an adult, I've maintained strong links to cultural work, but the social and economic justice fields I found myself in often didn't incorporate the arts. The USDAC's commitment to arts, culture, and justice made it clear that these were my people and this was work I could enthusiastically support.”

Welcome new OOI members Gabrielle, Tiffany, and Ericka!

Please join us in expressing heartfelt gratitude to our colleagues whose USDAC tenures are ending.

Mo Manklang, who has been USDAC Chief of Making Things Happen since late 2016—and has made so many things happen, from organizational systems to social media to our website redo—has been loving her work in Philadelphia as Communications Director with the U.S. Federation of Worker Coops so much, she’s made it full-time! This isn’t goodbye, because we hope and trust Mo will stay active and engaged as a Citizen Artist. Feel free to stay in touch with Mo at  mo@usworker.coop, and follow her on Twitter @momanklang.

A year of piloting our Regional Envoy model— three individuals reaching out on behalf of the USDAC in multi-state regions—taught us that we need more firmly established central infrastructure to scale sufficient resources into organizing and engagement at the regional level. Envoys Devon Kelley-Yurdin in the northeast; Yvette Hyater-Adams in the southeast, and Katherin Canton on the west coast have assisted local cultural organizing, offered workshops and trainings, researched local cultural development needs, and connected people to USDAC National Actions, all the while learning and growing together. We are grateful for their creativity, commitment, and critical contributions to the USDAC over the last year as we piloted something new. Their experience will be invaluable to our incoming Minister of Collaboration and Activation, and we look forward to connecting regularly with these powerful Citizen Artists.

You can too! Find Devon at devonkelley-yurdin.com, via email at devon.kelley.yurdin@gmail.com, or on Instagram @moodhair. Reach Yvette at  YHyater@gmail.com or by phone at (904) 372-3771. And find Katherin via LinkedIn: www.linkedin.com/in/katherincanton  or on Twitter @streetscapes_KC .

Thank you Mo, Devon, Yvette, and Katherin! May the next steps on your path lead exactly where you want to go!

2018 People’s State of the Union: Prepare to Share Your Stories!

“I was visiting my mother for tea when the cable repair man came. Our small talk somehow led to immigrants, and we learned quickly he was not fond of them. He dove with both feet into racist statements, partly out of ignorance and being misinformed, but mostly out of fear. He thought he was safe saying these things in front of us, because we were white. We couldn’t possibly be immigrants. 
He was wrong. I decided to tread lightly, planting seeds of doubt in his mind. I spoke calmly with him, getting him to agree with me on basic things, then applying them to immigrants. This destroyed his argument, and I could often see looks of confusion on his face as he found himself struggling to determine which of the two contradictory beliefs he held were true. Speaking to my mother in our native tongue, then pointing out that she was not a citizen seemed to shock him. How could that beautiful blonde be something as terrible as an immigrant? Are immigrants really that terrible? In the end, I informed him that the only non-immigrants are Native Americans. He clearly forgot about them.”

            “Cable Man,” a story from the #PSOTU2017 Story Portal (Check it out: you will find hundreds of stories from people of many ages, races, cultures, locations, genders, and orientations throughout the U.S.)

It’s People’s State of the Union (PSOTU) time again! The USDAC is inviting folks across the U.S. to host Story Circles between 25 January and 4 February 2018. In this fourth year of the people-powered department’s annual civic ritual and story-sharing project, we hope that you will join the 350 communities that took part in previous years. Host your own Story Circle or upload your individual story directly to the Story Portal, which will launch on January 25th, 2018, so stay tuned!

A Story Circle event can be a few friends sharing stories across a kitchen table or a hundred people gathered in a public setting, perhaps meeting for the first time. Absolutely everything you need to know to host an event can be found in the free, downloadable #PSOTU2018 Toolkit. Just scroll down on this page and enter your email to download. You’ll also get access to the PSOTU2018 Public Folder, full of great stuff such as social media buttons, model press information, customizable flyers like those illustrating this blog, and even a lesson plan!

For #PSOTU2018, tellers are invited to share first-person stories in response to three main prompts:

  • Share a story about an experience that gave you insight into the state of our union. 
  • Share a story about a time you felt a sense of belonging—or the opposite—to this nation or your community. 
  • Share a story of an experience that gave you hope in the past year. 
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Prompts can also be tailored to a specific community or issue. For example, net neutrality is in jeopardy right now, with proposals being floated that would change an open internet to one with different levels of access conditioned on being able to pay. If you’re part of a community that cares about access, one of your prompts might be “Share a story about an experience that gave you insight into the state of free speech in the U.S.”

Other topics are full of energy right now too, for example:

  • Women’s safety from sexual assault and harassment. What if your Story Circle used the following prompt? “Share a story about an experience that gave you insight into the safety and rights of women in the U.S.”
  • The rights of Muslims and other religious minorities to full cultural citizenship and belonging. Share a story about a time you felt that true belonging—or the opposite—was extended to religious minorities in this nation or your community. 

Every year, we hear from many participants that Story Circles offer a powerful and simple way to connect people, even those who seem to have little in common. In a Story Circle everyone gets equal uninterrupted time to share a first-person story, usually two or three minutes apiece. Listeners give each teller undivided attention, allowing a breath after each story for it to settle. Those factors often have a large impact in equalizing participation; contrast this to a free-for-all where the loudest or most powerful person hogs the space. After everyone has shared a story, the members of each Circle reflect on what has been revealed by the body of stories.

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Why is the simple invitation to sit in circles, share stories, and listen fully so powerful? Based on the hundreds of Story Circles we’ve seen, two main answers come to mind.

It can be a rare and delicious experience to receive full attention, to inhabit the space to tell a story without fearing interruption or contradiction. Too often, people are texting while you talk, or waiting for you to stop so their turn can start, or looking over your shoulder for someone they’d rather engage. The full attention and permission of a Story Circle offer an easy antidote.

The PSOTU motto says it all: “Democracy is a conversation, not a monologue.” We tend to defer so much to those deemed experts, privileging official findings, numbers, professional jargon. Most public conversations generate tons of opinion, and opinion can always be contested. Who wants to be in a shouting-match? But stories are different. When you start with, “I want to tell you a story about something that happened to me” and tell an actual story, with a beginning, middle, and end, each storyteller’s truth emerges to stand alongside the rest. When the group reflects on what has been learned, the richness and power can be surprising.

What if you just can’t host a Story Circle this year? No worries! When #PSOTU2018 launches on January 25th, we’ll provide a link to the Story Portal where you can share your individual story including text, video, and/or images. Your story will take its place amidst hundreds of first-person accounts that help us all know the state of union, connect to the way we want it to be, and recognize that we are not alone. We can’t wait to read your story! 

Honor Native Land: Steps Toward Truth and Justice

In early October, the USDAC released Honor Native Land: A Guide And Call To Acknowledgment, a free, downloadable Guide created in partnership with Native allies and organizations. It offers context about the practice of opening events by acknowledging the traditional inhabitants of the place, gives step-by-step instructions for how to begin wherever you are, and provides tips for moving beyond acknowledgment into action. If you haven’t already downloaded your Guide, visit the web page to access it along with customizable posters acknowledging Indigenous lands, and a short video featuring Native artists and activists.

Acknowledgment by itself is a small gesture. It becomes meaningful when coupled with authentic relationship and informed action, as an opening to greater public consciousness of Native sovereignty and cultural rights, a step toward equitable relationship and reconciliation. On October 17, the #HonorNativeLand campaign was featured on Native America Calling, broadcasting on over 70 public, community, and tribal radio stations in the United States and in Canada. Listen to the recording featuring USDAC Chief Instigator Adam Horowitz, Mary Bordeaux (Sicangu Lakota) of Racing Magpie, the artist Bunky Echo-Hawk (Pawnee/Yakama), Ty Defoe (Ojibwe/Oneida) and Larissa FastHorse (Sicangu Nation Lakota) of Indigenous Directions to learn more about the practice of acknowledgment and what it means.

Keith BraveHeart's poster for #HonorNativeland

Keith BraveHeart's poster for #HonorNativeland

As part of the broadcast, some recorded acknowledgments were shared. Here is Nick Estes (Lower Brule Sioux Tribe), a doctoral candidate in American Studies at the University of New Mexico, introducing scholar Roxanne Dunbar-Ortiz, author of numerous books including An Indigenous Peoples’ History of the United States, at an event in Santa Fe, NM, sponsored by the Lannan Foundation. (Find that recording here.)

Hau Mitakuyapi. Nape Cuzayapi. Cante Waste. I greet each one of you as a relative, with a handshake, and an open heart and mind. As a Lakota person who is a guest in this place, I’d like to recognize the land belonging to the original people. This place is known to the Tewa-speaking people in their language as Kua'p'o-oge, “the white shell water place.” Here, a sacred hot spring existed, a Pueblo holy site, that Spanish settlers destroyed to erect the Cathedral Basilica of St. Francis of Assisi. But Pueblo people remember this is their land and so must we.

Seventy-five organizations have already signed the USDAC’s pledge to make acknowledgment a regular practice:

As a step toward honoring the truth and achieving healing and reconciliation, our organization commits to open all public events and gatherings with a statement acknowledging the traditional Native lands on which we stand. Such statements become truly meaningful when coupled with authentic relationships and sustained commitment. We therefore commit to move beyond words into programs and actions that fully embody a commitment to Indigenous rights and cultural equity.

Signers include a range of local and national nonprofits, arts organizations, and education institutions, such as: the New Economy Coalition, Women of Color in the Arts, Arts in a Changing America, ArtWell, Barefoot Artists, Emerging Arts Leaders/Los Angeles, Arts in a Changing America, The Field, Native Arts and Cultures Foundation, U.S. Federation of Worker Cooperatives, The Natural History Museum, Peñasco Theatre Collective, and Alverno College International & Intercultural Center.

Imagine cultural venues, classrooms, conference settings, places of worship, sports stadiums, and town halls acknowledging traditional lands. Millions would be exposed—many for the first time—to the names of the traditional Indigenous inhabitants of the place they stand, inspiring them to ongoing awareness and action. Join us in sparking this movement by urging organizations you take part in to take the pledge now!

Jamie Blosser, Executive Director of the Santa Fe Art Institute, shared her experience of acknowledgment, which sprang from the realization that this is everyone’s responsibility, not just Indigenous people’s:

The Santa Fe Art Institute is new to this process, which I see as ongoing. We began the practice of acknowledgment after a couple of our Indigenous Canadian artists in residence approached me, asking why we were not acknowledging traditional territories at public events. They said the practice was now considered protocol at all Canadian events, but it was an entirely new concept to me at the time. I realized that—although my work prior to SFAI was primarily focused on affordable housing and cultural sustainability with Native American communities—I had always respectfully relied on my Indigenous friends and colleagues to set the tone and carry out acknowledgments. As this was all being discussed during the wintry protests at Standing Rock, with all of the world bearing witness to the courageous water protectors, it felt urgent to take on, both from a personal and institutional perspective. 
Although we are seeking more guidance to make sure that our acknowledgment is appropriate, we are kept on track with this process by people who have approached me to say that SFAI doing this is affirming for and important to them. This kind of feedback has helped me to realize we need to make it more of an institutional imperative. I feel it sets a beautiful tone of reconciliation that we all need. 
I am in such gratitude for the patience and kindness shown by my Indigenous friends and colleagues as this practice unfolds for SFAI, and as we make mistakes as we step into it. I ask for ongoing assistance, feedback, and collaboration to ensure it is a meaningful practice moving forward.
Bryan Parker's poster for #HonorNative Land

Bryan Parker's poster for #HonorNative Land

Sometimes actually doing something unfamiliar opens new pathways to understanding. Bay Area artist Cynthia Tom shared her experience of acknowledgment:

I am particularly tied into the Asian American arts communities in the Bay Area. I announced the acknowledgment project and mentioned the Coast Miwok Native people at the opening of “Hungry Ghost” (see A Place of Her Own), an exhibit that recently opened at Gallery Route One in Pt. Reyes, California. Much of what I curate has to do with helping artists heal by creating thought-provoking shows that provide a platform to share stories of ancestral, familial, gender, and cultural trauma. This includes historical references to colonization, forced migration, discrimination, violence, and the effects on long-term family patterns of trauma. I do this to help women artists and the community heal, increase consciousness around their own dysfunctional patterns and releasing them to move towards new ways of thinking; and to wake up the communities that surround us, to instill compassion, grow passion around various issues and civic engagement and a call to action.  
The “Hungry Ghost” art exhibition brings up all these issues for the artists. If we are going to bring up colonization, I thought, how could we not address the deepest colonization of Indigenous land, closest to home? I always ensure we practice gratitude verbally and with print signage for each show, expressing thanks for our venue host, sponsors, donors, volunteers, artists, etc. I am excited to add #HonorNativeLand. 

Cultural Agent Dave Loewenstein of the Lawrence, Kansas, USDAC Field Office described how acknowledgment led to a group of Kansans holding a much larger picture of the place they were living:

A couple years ago, I helped organize The Kansas People's History Project which aims to shine a light on lesser known stories about people and events from the state's past. When I went around Kansas giving presentations about how folks could get involved, I always started with a slide of a map of the state. 
I said that the project was straightforward: just choose a person or event from Kansas that you feel needs more attention, write a brief narrative and illustrate it however you like.
And then I would pause...
Wait, I said, I need to clarify, because of course Kansas wasn't always Kansas. Before it became a state, it was part of the Kansas Territory. So, to be more accurate we'll call this The Kansas and Kansas Territory People's History Project.
Except...
Except, before Kansas was the Kansas Territory, it was part of Louisiana, so to be more inclusive we'll use the title, The Kansas, Kansas Territory and Louisiana People's History Project. Whew.
But...
But before Kansas was Louisiana it was (and still is) the home of the Shawnee, Ioway, Wyandot, Potawatomi, Kansa, Sac and Fox, Wichita, Osage, Delaware and many other Indigenous peoples.
In other words, when you think about it, this shouldn't be called The Kansas People's History Project. It should be called The Shawnee, Ioway, Wyandot, Potawatomi, Kansa, Osage, Sac and Fox, Wichita, Delaware, Kansas, Kansas Territory and Louisiana People's History Project. 

Acknowledgment of ancestral lands is a small step, yes. But the truth has a way of expanding to fill the available space. If you aren’t already living into the truth embedded in the land you’re standing on, join us in taking the first steps by downloading the Guide, using the posters, and taking the pledge. You can find them all here.

Katrina, Sandy, and Now Harvey: How Can Art Help?

The National Hurricane Center has a penchant for friendly sounding hurricane names, but instead of generating smiles, the natural and by-now familiar responses are fear and compassion. This morning’s Washington Post predicts that more than 30,000 people from Houston and other towns in the region hit by Hurricane Harvey will be forced into temporary shelters as recovery gets underway. Our hearts go out to the people of Texas.

Immediate support is critical right now. Here are a few links people in our network have shared:

Another Gulf Is Possible: Collaborative for a Just Transition in the Gulf. 

Circle of Health International: assisting mothers and children affected by Hurricane Harvey.

Coalition for the Homeless, Houston. 

Portlight Inclusive Disaster Strategies.

Houston Food Bank.

Hurricane Harvey Community Relief Fund.

How can art help?

Citizen Artists across the U.S. have first-person experiences and wise counsel to share with their counterparts in Texas and those in other regions who are asking this question. USDAC folks on the ground in New Orleans and New York during Hurricanes Katrina and Sandy know that important questions need to be asked again, and that humane, creative responses are possible. How will survivors in temporary shelters be treated—and how should they be? Who will hear their stories and help them tell the world what they wish others to know? How can creative action help build resiliency and community in the aftermath of such a shock?

These and other key questions are covered in Art Became The Oxygen: An Artistic Response Guide, the USDAC’s free, downloadable resource for natural and civil emergencies, filled with inspiration, advice, and wisdom from artists and activists who know firsthand what they are talking about.

We invite you to read the Guide, and to view tomorrow’s Artistic Response Citizen Artist Salon featuring Carole Bebelle, Co-founder and Executive Director of Ashé Cultural Arts Center in New Orleans; Mike O’Bryan, Program Manager in Youth Arts Education at the Village of Arts and Humanities in North Central Philadelphia; and Amber Hansen, a co-director of Called to Walls and a visual artist based in Vermillion, South Dakota. You can join live online at 3 pm PDT/4 pm MDT/5 pm CDT/6 pm EDT on Tuesday, 29 August 2017 or wait and watch the recording later this week. (See our blog for tips on organizing a viewing party that can help local folks work together in artistic response.)

Here are just a few of the Guide's excerpts on storm-driven artistic response projects. The Guide contains many more details and links:

Evacuateer is a group that recruits, trains, and manages 500 evacuation volunteers called Evacuteers who assist with New Orleans’ public evacuation plan. They prepare and register evacuees, ensuring their ability to evacuate safely and with dignity.

Evacuspots mark the pick-up locations for the New Orleans City-Assisted Evacuation. Designed by public artist Doug Kornfeld, these 16 14-foot high stainless steel statues are created to withstand 200 years of wear and tear.

Alive in Truth was an all-volunteer project to record life histories of people from the New Orleans region who were affected “by Hurricane Katrina and the federal floods created by levee failure. Our mission is to document individual lives, restore community bonds, and to uphold the voices, culture, rights, and history of New Orleanians.” It was founded by Austin, TX-based writer, social justice activist, and educator Abe Louise Young, working with a large team of interviewers who captured stories. Each story link takes the visitor to a complete transcript with images.

Flood Stories, Too. This 2013 play by the Bloomsburg Theater Ensemble tells the story of the flood of 2011 caused by Tropical Storm Lee, in community members’ own voices. The production was a collaboration between BTE, the Bloomsburg University Players, and the Bloomsburg Bicentennial Choir. The script was based on hundreds of stories gathered from local residents via interviews and Story Circles; it incorporated original songs by Van Wagner and Paul Loomis. The staging resembled a church: seventy performers—children to elders, including some who’d lost their homes to the flood and many who’d taken part in cleanup efforts—were arrayed onstage on risers, the back rows of folding chairs holding Choir members, the other performers filling the front rows. Playwright Gerald Stropnicky, an emeritus BTE member, described the ultra-open casting philosophy: “a terrific cast of community volunteer actors joined the effort; the door was open to any and all willing to participate. No auditions, and no one would be turned away.” The box-office policy mirrored the casting: admission was on a pay-as-you-wish basis.

Photo posted by Vivian Demuth on Sandy Storyline

Photo posted by Vivian Demuth on Sandy Storyline

Sandy Storyline is widely admired as a rich repository of first-person stories relating to the experience of Hurricane Sandy, not just the immediate emergency of being displaced or injured, but also accounts of how the experience affected lives for years afterwards. The project was conceived and co-directed by Rachel Falcone and Michael Premo, working in collaboration with a large team and many sponsors and supporters.

The site puts it concisely:

By engaging people in sharing their own experiences and visions, Sandy Storyline is building a community-generated narrative of the storm and its aftermath that seeks to build a more just and sustainable future. Sandy Storyline features audio, video, photography and text stories — contributed by residents, citizen journalists, and professional producers–that are shared through an immersive web documentary and interactive exhibitions.

Park Slope Armory. Caron Atlas, Minister of Naturally Occurring Cultural Districts on the USDAC National Cabinet, lives in Brooklyn. She was deeply engaged in volunteering at the Park Slope Armory evacuation shelter following Hurricane Sandy in 2012.

In a Summer 2013 GIA Reader article, she described what happened and offered advice for future artistic response. At the invitation of a city council member, Caron, who directs Arts & Democracy, joining with artists and cultural organizations from the neighborhood and across the city,

created a wellness center in a corner of the armory drill floor, with programs that included arts and culture, exercise, massage, religious services, a Veterans Day commemoration, an election-watching party, film screenings, therapy dogs, AA meetings, and stress relief. In essence, the wellness center became the living room of the armory—a place where the residents could come to talk, reflect, create, build community, and even enjoy themselves. It served the staff and volunteers as well.

The article portrays in vivid detail the ways that many different artists—a jazz musician, a dancer, actors and others—interacted with shelter residents, becoming essential to the humane functioning of the facility and to the dignity, respect, and humanity of the residents. Comfort and care were important, but just as much, the work was to cultivate people’s agency to act and to advocate for those in the shelters.

Please share the Guide, take part in the Salon on August 29 or watch the video afterwards. Watch this space for more information about the USDAC’s Artistic Response work to come. Please feel free to get in touch with your own questions and stories about artistic response: hello@usdac.us. 

#ArtResponds: Use Your Gifts for Awareness and Action in Charlottesville and Beyond

This past weekend in Charlottesville, VA, Nazis and their allies marched for white supremacy and Heather Heyer, one of the legions of human rights advocates who came out to oppose them lost her life to a terrorist who plowed his car into a crowd. Protest—along with care and consolation and building resilience—is one of the three aims of artistic response to civil or natural disaster in Art Became The Oxygen: An Artistic Response Guide; just enter your email to join a thousand others who’ve downloaded the this free 74-page Guide in the last week, and learn more about the models, methods, ethics, and awareness needed for effective artistic response.

Last week we wrote about the Guide as a whole. This week, our focus is on art that protests injustice, calling people to awareness and action. The USDAC is built on the principle that human rights are cultural rights are foundational human birthrights. Watch this Indivisible guide for solidarity events. Donate to the Solidarity C’ville anti-racist legal fund, Black Lives Matter C’ville, or other organizations that stand for equity, justice, and cultural democracy.

Once you download the Guide, be sure to join us at 3 pm PDT/4 pm MDT/5 pm CDT/6 pm EDT on Tuesday, 29 August 2017 for an Artistic Response Citizen Artist Salon featuring Carole Bebelle, Co-founder and Executive Director of Ashé Cultural Arts Center in New Orleans; Mike O’Bryan, Program Manager in Youth Arts Education at the Village of Arts and Humanities in North Central Philadelphia; and Amber Hansen, a co-director of Called to Walls and a visual artist based in Vermillion, South Dakota. Just enter your email to sign up and you’ll receive a link to take part in this online video conversation.

Cultural Agent Dave Loewenstein's vision of a monument to racism vanquished. See all three images in the series here.

Cultural Agent Dave Loewenstein's vision of a monument to racism vanquished. See all three images in the series here.

What can Artistic Response do in moments such as these? As we say in the Guide,

As a vehicle of protest, artistic response can share the realities of those most directly affected by emergencies, countering cover-stories and distant analyses. It can reach people emotionally and somatically, as well as intellectually, adding impact. It can generate images, sounds, and other experiences that build awareness and lodge in memory, affecting future actions. It can illustrate what is broken and offer powerful images of healing and possibility.

Here are just a few of the Guide excerpts on protest-focused artistic response projects:

The Mirror Casket. De Andrea Nichols designed The Mirror Casket, a coffin faced entirely in mirrored glass, “to challenge on-lookers to question, empathize, and reflect on their own roles in remediating the crisis of countless deaths that young men of color experience in the United States at the hands of police and community violence.” The Mirror Casket was carried in many demonstrations before it became part of the collection of the National Museum of African American History and Culture in Washington. Here’s how De’s website describes the project:

The Mirror Casket is a visual structure, performance, and call to action for justice in the aftermath of the murder of Michael Brown in Ferguson, MO. Created by a team of seven community artists and organizers, the mirrored casket responds to a Ferguson resident’s call for “a work of art that evokes more empathy into this circumstance” following the burning of a Michael Brown memorial on September 23, 2014.

With an aim to evoke reflection and empathy for the deaths of young people of color who have lost their lives unjustly in the United States and worldwide, The Mirror Casket was performed as part of a “Funeral Procession of Justice” during the Ferguson October protests. As community members carried it from the site of Michael Brown’s death to the police department of the community, its mirrors challenged viewers to look within and see their reflections as both whole and shattered, as both solution and problem, as both victim and aggressor. The Mirror Casket has since been used throughout related protests and marches.

Marching with The Mirror Casket.

Marching with The Mirror Casket.

#Icantkeepquiet: Every issue that encroaches on community and individual well-being stimulates protest art. Consider the song #icantkeepquiet, emerging from the Women’s Marches in January 2017. Los Angeles musician MILCK wrote the song and taught it online to a group of women who came together to perform it first during the demonstration on the streets of Washington, DC. It went viral on YouTube. The site makes sheet music and guide recordings freely available and collects stories of speaking out in the face of repression.

#WRITERSRESIST. Writers gathered in 100 events across the globe on January 15, 2017, the birthday of Dr. Martin Luther King, Jr., under the banner of #WRITERSRESIST, asserting their commitment to free, just, and compassionate democracy in the face of official actions that shake these commitments.

I Hear A Voice. In the summer of 2016, students in the Twin Cities Mobile Jazz Project summer school program created a song in tribute to Philando Castile, who was killed by police just days before. The track weaves snippets of news soundtrack, spoken word, and choral singing with instrumental music.

Social Emergency Response Centers. The Design Studio for Social Intervention has been experimenting with SERCs (Social Emergency Response Centers)…. You can see images and video describing the prototype center DS4SI piloted in 2016 in Dorchester, the largest and most diverse neighborhood of Boston. Their website says “Our goal is for communities to be able to self-organize SERCs whenever they feel like they need them. We imagine a people-led public infrastructure sweeping the country!” They encourage people to pop up SERC’s in all kinds of venues: “youth programs, art galleries, health centers, colleges, community organizing programs, etc.”

Please share the Guide, tell people about the Salon, and watch this space for more information about the USDAC’s Artistic Response work to come.

Building Democracy in "Trump Country"

NOTEBen Fink, who authored this essay, is creative placemaking project manager at the Appalshop; he grew up in Connecticut and now lives on Little Cowan in Letcher County. He holds a Ph.D. in cultural studies from the University of Minnesota. He’s taught school in Minneapolis and Berlin, directed youth arts programs in New Jersey, and consulted with homeless service nonprofits in Connecticut. You can find him at the nearest shape note singing, or follow him on Twitter at @benjaminhfink. This piece, which was first published on BillMoyers.com, originated in his presentation at CULTURE/SHIFT 2016, the USDAC's national convening held in St. Louis in November, 2016. 

Appalshop program participants filming. (Photo by Shawn Poynter Photography)

Appalshop program participants filming. (Photo by Shawn Poynter Photography)

A lot of people don’t believe me when I tell them Letcher County, Kentucky, is one of the most open-minded places I’ve ever lived.

I moved here a year ago. I’ve spent most of my life in cities and suburbs, and I arrived with all the assumptions you can imagine about Central Appalachia and the people who live here.

I might not have believed it either, before I moved here a year ago. I’ve spent most of my life in cities and suburbs, and I arrived with all the assumptions you can imagine about Central Appalachia and the people who live here.

But if you’ve been here, or to similar places, you know how wrong those assumptions can be. Yes, some people fly Confederate flags. One of them, down the road, used to share a front lawn with an anarchist environmentalist, and they got along fine. Yes, my northeastern accent sticks out. And as long as I’m open about who I am and interested in who they are, I’ve found almost everyone here is ready to open up, take me in and work together.

Letcher County went 79.8 percent for Donald Trump. He won every county in Kentucky, except the two that include Lexington and Louisville. Around 3 a.m. on election night, I woke up in a panic as three celebratory gunshots from next door shook my house.

The next morning it was hard to get out of bed. Was this still the same loving, open-minded place where I went to sleep last night? Did I belong here anymore?

Bill, Letcher County Volunteer Fire Chief (Photo courtesy of Lafayette College/Clay Wegrzynowicz ’18)

Bill, Letcher County Volunteer Fire Chief (Photo courtesy of Lafayette College/Clay Wegrzynowicz ’18)

My phone rang; it was Bill. Bill is fire chief in one of the remotest, poorest parts of the county. He and I had worked together a lot over the past year, most recently on a project to get energy costs down at the county’s cash-strapped volunteer fire departments. Bill and his crew do a lot more than fight fires; they look after sick neighbors, get food to hungry families and otherwise work day and night to take care of their community, for no pay.

Still, Bill isn’t your average partner for a social justice-oriented nonprofit. He’s a former logger and mine owner. He’s campaigned for some of the most right-wing candidates in the area. And his interactions with public officials have been, well, colorful.

I let the phone ring. I didn’t think I could talk to Bill that morning. He was going to be happy and peppy — he’d just won, after all — and he’d ask me how I was. What could I say? I’m doing bad, Bill. Four-fifths of this county just elected someone really scary.

Letcher County went 79.8 percent for Donald Trump. He won every county in Kentucky, except the two that include Lexington and Louisville.

Finally, I called him back. He greeted me as always: “Why hello there, young feller! How’re you this morning!” I hesitated: “Honestly, I’m not doing great.”

Turns out he wasn’t either. His close friend and longtime secretary was dying of cancer — and without her help, he’d need a few more days to find the power bills I’d asked him for. I told him of course, take the time you need, and that I was very sorry to hear the news. She would die a few days later.

The Appalshop, in Letcher County, Kentucky. (Photo courtesy of Appalshop)

The Appalshop, in Letcher County, Kentucky. (Photo courtesy of Appalshop)

I work at the Appalshop — originally short for “Appalachian Film Workshop.” We were founded in 1969, with funding from the federal War on Poverty and the American Film Institute, as a program to teach young people in the mountains to make films. A few years later, when the government money stopped, some of those young people took it over and re-founded it for themselves.

Ever since, it’s been a grass-roots multimedia arts center: a film producertheater companyradio stationrecord labelnews outletyouth media training program, deep regional archive and sometimes book and magazine publisher. It’s put the means of cultural production in the hands of local people.

At the Appalshop, we work with stories. Stories are how we learn, how we make meaning out of our lives, how we understand who we are and what we can do, individually and together. The story of Appalachia, as told in so many reports from “Trump country,” tends to be pretty depressing: broken people, victims of poverty and unemployment and addiction, clinging desperately to a divisive and hateful politics as their last hope.

My phone call with Bill, like so many other moments I could describe, hints at a different kind of story. A story suggesting that even after Election Day, we might not be as divided as we think. That even those who feel like we “lost” the election could ultimately win, together. And that if what we’re doing works here — listening to each other, caring for each other, working with each other on common ground toward common goals — it might work in other places, too.

If what we’re doing works here — listening to each other, caring for each other, working with each other on common ground toward common goals — it might work in other places, too.

One thing that’s different about Appalshop, compared with a lot of nonprofits, is we don’t do “community engagement” or “community outreach.” We aren’t looking to “help” or “save” the community. We are part of the community, no less and no more. One day, several months into my job, my boss pulled me aside and told me to stop starting sentences with “I’m not from here, but….” “You are from here now,” he said.

Of course, not everyone else from here loves what we do. I hear the term “Appalhead” now and again; I’m told it was real big five years ago, at the height of the so-called “Obama War on Coal.” It’s easy to call out the misinformation behind the label. No, we’re not all from New York and San Francisco; more than half of us grew up here. No, we’re not marching in liberal lockstep; our staff meetings can involve heated political debate. And no, we don’t hate coal miners; but industry executives and their political allies would like folks to think we do.

Still, if I lost a well-paying job when a mine shut down, and I saw people who claimed to be from my community raising money to make a film about how awful strip mining was instead of doing something to try to help my family, I’d probably be resentful, too. That resentment, I think, is a lot of what this election was about. County by county, the electoral map of the whole country looked a lot like Kentucky. Urban went Clinton. Rural went Trump. Rural won.

For those of us who don’t like how the election turned out, we’re left with two choices. We can keep ignoring or ridiculing the resentment my neighbors feel, and calling them ignorant and otherwise illegitimate for the ways they think, talk and act. And we’ll keep getting the same results. Or we can listen and try to understand where they’re coming from, even when we don’t like it, and see what we can build together.

Because either way, in this election we learned that rural people have power. Whether we like it or not.

In this election we learned that rural people have power. Whether we like it or not.

The work I do is rooted in the Popular Front of the 1930s, when people came together across all kinds of differences to build power and fight against fascism. They understood power very simply, as organized people plus organized money. Since then, some organizers in this tradition have added a third term: organized ideas.

That’s the formula I use every day: Power = Organized People + Organized Money + Organized Ideas.

If we want to understand the power in rural America and how it can be organized differently, first we need to know — who’s got it? Who, exactly, has been doing the organizing?

The answer is, as usual: not us. The bigotry and violence of the Trump campaign wasn’t the product of our people, money or ideas. My neighbors may not be up on the latest social justice lingo, but they are not hateful.

No, the organizing took place far away. What we get, on both sides, are the bumper stickers, the prefab identities sold by the people with power to make us feel powerful — even as they use our power for their own benefit.

(Photo by Mimi Pickering)

(Photo by Mimi Pickering)

During the election our county was full of “Trump Digs Coal” signs, but the week afterward the top headline in our newspaper The Mountain Eagle was: “Don’t expect jobs mining coal soon, McConnell warns.” Again, though, if you’re a coal miner who lost your job and you’re convinced Obama is to blame, it makes sense that a sticker on your car could make you feel better. Like you’re fighting back.

So we’re left with the all-too-familiar story of “us” versus “them.” “Our” “good” bumper stickers — and energy-efficient foreign cars — versus “their” “bad” ones — on a clunker to boot.

The bumper that gives me hope, though, is the one parked in front of our building the day after the election. It had a “Make America Great Again” sticker and a sticker for WMMT-FM 88.7, the community radio station run by Appalshop, which broadcasts news and music across central Appalachia and streams worldwide. WMMT has 50 local volunteer DJs, from all political positions.

Old Red on the mic at WMMT-FM 88.7, the community radio station run by Appalshop. (Facebook photo)

Old Red on the mic at WMMT-FM 88.7, the community radio station run by Appalshop. (Facebook photo)

Including this guy. Old Red hosts the First Generation Bluegrass show on Thursday mornings. He plays great music, has a terrific radio personality and likes to make fun of Al Gore on the air. When I hosted a show last summer, I went on right before him.

One morning I played “Pride,” a haunting song by Ricky Ian Gordon about a gay man discovering he has AIDS and finding home in the uprisings of the mid-1980s. Near the end of my show Red came into the studio, as usual, and put down his pink bag. “I heard that song you played while I was driving in.” I took a breath. He continued: “I don’t know a lot about this stuff. I think I know what ‘L, G, B, T’ means, but I’m not sure about ‘Q, I….’ Can you help me?”

When Red steps into that studio, he feels safe enough to admit he doesn’t know something, and learn. Even from someone like me. Because that studio is a place Red knows he belongs. He gets to broadcast his music, his voice and his ideas, whatever I or anyone else might think of them, to five states every week. Just like scores of other people — including relatives of folks locked up in nearby prisons, who call in to our weekly hip hop show “Hot 88.7 — Hip Hop from the Hilltop and Calls From Home.” We can’t always see them, but they are part of our community, too.

Economist Fluney Hutchinson (Photo courtesy of Lafayette College/Clay Wegrzynowicz ’18)

Economist Fluney Hutchinson (Photo courtesy of Lafayette College/Clay Wegrzynowicz ’18)

A few years ago, with the coal economy on its last legs, a new generation of Appalshop leaders started working with a Jamaican economist named Fluney Hutchinson. Fluney has done development in poor areas across the world, sometimes with the International Monetary Fund.

But he doesn’t work through loans, austerity and government takeovers. He works, basically, through organizing. Or as he puts it: “Strengthening the capacity of residents to exercise voice, agency and ownership over their community affairs is essential to their ability to create communities that they value.”

He recognized Appalshop was already doing this, through radio and theater and other media. But he asked, how could we do more? How could we help build an economy where everyone had voice, agency and ownership? Where we can work and act and vote out of hope for a future we’re working to make, instead of out of fear of a future we feel powerless to stop?

This is what we came up with:

(Image courtesy of Appalshop)

(Image courtesy of Appalshop)

Basically, Appalshop would use its resources and relationships to do broad-based organizing. We would build a wide network of grass-roots organizations working to strengthen people’s voice, agency and ownership, starting in Letcher County. Each organization in our network would support everyone else’s work, connect each other with resources, plan projects to bring value and wealth into our communities, and bring together organized people, money and ideas.

What does this look like? It looks like a remote community center getting the support to reopen the longest-running square dance in the state of Kentucky, with guests from around the state and around the country.

It looks like the county volunteer fire departments, led by my buddy Bill, working together to start an annual bluegrass festival that made $10,000 in its first year.

It looks like starting Mountain Tech Media, a new cooperative for-profit corporation, under Appalshop’s roof. And at the same time, working with our regional community and technical college to start a certificate program in tech and media skills — to create a complete community-based pipeline to employment for young people in the area.

It looks like people and groups of all kinds coming together and recognizing that we have power, and together we can build more. That we don’t have to wait to be saved. That we can create markets on a scale to attract the attention of investors — and keep the value of those investments in our community.

It looks like a certain drink at the new Kentucky Mist Moonshine, Letcher County’s first legal still, run by a Republican businessman who’s now a close partner in the Downtown Retail Association we helped found. It involves apple pie moonshine, cider, a little sour mix, cinnamon, sugar and apples. They call it the “Appal Head.” (They made me a free one recently; it was delicious.)

And it looks like the young girl who recently came to a painting party hosted by our youth media institute. She said she’d wanted to come for a while, but she was nervous because she didn’t know anyone. Before she left, she left a note with the Institute’s director:

(Photo courtesy of Appalshop)

(Photo courtesy of Appalshop)

At the start of 2017, Appalshop is 48 years in (and still learning, of course). But I think we’re onto something. When we work together to make places where we all feel like we belong, we can feel safe enough to open ourselves to people and ideas we might otherwise fear. When we build a culture and economy based on shared agency, voice and ownership, we can live with dignity and own the value we create. That’s what we’re imagining here in Letcher County, Kentucky.

Can a project started in Letcher County go nationwide? We’re ready. Want to work with us? Let’s talk. We like visitors. Above the doors of our local library, in the words of Letcher County author Harry M. Caudill, is our standing invitation to all:

(Photo courtesy of Lafayette College/Clay Wegrzynowicz ’18)

(Photo courtesy of Lafayette College/Clay Wegrzynowicz ’18)

The Space Between Imagining and Making Real Is Very Small

NOTE: On Saturday, 21 January 2017, Judy Baca, Minister of Sites of Public Memory on the USDAC National Cabinet, delivered these inspiring remarks to 750,000 marchers at Los Angeles' Women's March. 

Hello marchers! Hello Angelitos! Welcome to the official inauguration of President Trump!

My name is Judy Baca and I am cofounder of a woman-founded arts and social justice organization—SPARC—that has been fighting for human rights for 40 years.

For me today all of you are the best news I have heard since November.  I look out and see every generation that has historically stood for justice on every front, united today. And perhaps that is what we must be grateful for at this heart-clenching moment.

We outnumber by millions those who would make America whites-only again. Remember that we once stopped a war. We changed profoundly women’s roles in society. We fought for acknowledgement and fair treatment of immigrant laborers in our nation of immigrants. We pressed for the rights of the LGBTQ community.

What is important at this moment is to not underestimate the powerful role of artists. Witness all of our pussy hats, handmade, behind them are hours of people making them. It is our job as artists to:

  • visualize in the broad strokes of a brush,
  • to articulate in the spoken word or the stories we tell,
  • to lift hearts with song; and
  • to create a vision of a humane and just world.

In my 40 years as an activist artist at SPARC I have come to understand that the space between imagining and making real is very small. Together, we can imagine and make real the vision of a country that is respectful of all its people, particularly women and of Mother Earth that gives us our very life. To quote our former President, “In our increasingly interconnected world, the arts play an important role in both shaping the character that defines us and reminds us of our shared humanity.”

Each day that passes, with each egregious action of the Trump administration that would dismantle all of our hard-won progress, it is important to know that we need to resist each attack one by one and stop every action, every move toward fascism. And we must do it sustainably, with joy and certainty that we can and will win.

We are already seeing the beginnings of official actions by the current administration to undermine all that we have worked for. We cannot allow these backward hateful, misogynist, racist, ideas to become the new normal. This is not normal. The building of walls, actual or metaphoric, forecasts a future of division between peoples.

I remind us that the only wall that should be built is the one we build with our bodies and our resistance against the destruction of our dignity and our democracy.

Jae C. Hong/Associated Press

Jae C. Hong/Associated Press

 

 

Symbolic Gesture Comes Out of Retirement

Washington, DC, January 20, 2017. Advisors to the incoming presidential administration have pulled a bald and creaking Symbolic Gesture from a storehouse of anti-art props left over from the Reagan years, it was announced yesterday. Citing the need to reduce spending, Trump spokespeople from the ultra-right Heritage Foundation started a rumor that “The Corporation for Public Broadcasting would be privatized, while the National Endowment for the Arts and National Endowment for the Humanities would be eliminated entirely.”

As The Washington Post explains:

The NEA’s current budget is $146 million, which, according to the agency, represents “just 0.012% … of federal discretionary spending.” The NEH also has a budget of $146 million. The CPB receives $445.5 million. By comparison, the budget for the Department of Defense is $607 billion.

And that Defense budget includes military music groups, allocated more funding than the NEA.

The last time such purely symbolic cuts were threatened was when Ronald Reagan took office in 1980, armed with a Heritage Foundation policy directive also entitled Mandate for Leadership, as is the current three-part Heritage manual for the new administration.

In an exclusive conversation with Norman Beckett, the Deputy Secretary of the U.S. Department of Arts and Culture, Mr. Symbolic Gesture (or SG, as he likes to be called) explained the Heritage-Trump maneuver. We caught up with him in a suite at the Ritz-Carlton, soaking in a hot tub to get out the kinks.

SG: Wow, you’d think they’d be more original [bone-rattling sigh]. I can barely get around after 37 years in storage. But at least everyone knows the drill: threaten to cut something beloved that’s the size of a gnat, inflate your accomplishment in the media, lotsa bang for almost no bucks—and you know, I’m a master of misdirection. While everyone is busy with this, no one will notice the tax cuts and special deals for the one percent.

Beckett: But isn’t there some legitimate concern that you might not just be Symbolic this time around?

SG: Listen, I don’t know if they’ll ever turn me into a Real Gesture, but I do know what they want—and that is to scare you shitless and make you feel like there’s nothing to be done. Is it working?

Beckett: Not really. We’re organizing!

SG: Oh yeah? But aren’t you just a Symbolic Gesture yourself?

Beckett: Well, the USDAC has no federal line-item, if that’s what you mean. But the best thing about having no official U.S. Department of Arts and Culture as part of the federal government is that there is no incoming billionaire to dismantle it! As a people-powered department, it’s the time, energy, and passion of artists and creative organizers nationwide that drive our mission of inciting social imagination to shape a culture of empathy, equity, and belonging.

SG: Clever, but how do you renew that resource when everything is looking old and orange? Hey...this new guy isn’t Reagan reanimated, is he?

Beckett: We just get more creative. To quote Maya Angelou, “You can’t use up creativity; the more you use, the more you have.” Look, we don’t know what lies ahead for the NEA, NEH, and CPB, but the USDAC will do all it can to stand to protect, expand, and improve our national investment in creativity and communication. We are staying right here to build people-power and remind Citizen Artists across the country that we possess powerful weapons of mass creation.

SG: Weapons of mass creation? Sounds symbolic!

Beckett: Nope, real. To get started, enlist as Citizen Artist—you don’t have to be a U.S. Citizen or an artist. Download Standing for Cultural Democracy to get ideas for policy and action initiatives you can push at the local level. Join us for the People’s State of the Union, kicking off in just one week. And stay tuned for powerful new modes of organizing in the coming months.

We may not have a Secretary of Arts and Culture, but we have each other. As writer Ursula LeGuin reminds us: “We live in capitalism, its power seems inescapable—but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art.”

SG: Wow. I’m kind of glad they woke me up. Maybe this maneuver won’t succeed any better than the last time those bores at Heritage dragged me out. And then I’ll enlist in the USDAC!

Graphic by Janina A. Larenas. January, 2017.

Graphic by Janina A. Larenas. January, 2017.

Meet the USDAC's first Regional Envoys!

The USDAC is thrilled to introduce our first four Regional Envoys. Each of them will be working in a different multi-state region to connect artists, activists, and allies to each other and to USDAC organizing. Beginning in January, they’ll be available to help activate USDAC values in your community through workshops, technical assistance, and more. For now, join us in giving them a warm welcome!

West Coast Regional Envoy

West Coast Regional Envoy

Raised between Oakland and San Francisco, Katherin Canton envisions living in a community that values creative and cultural expression for all. She earned a BFA from California College of the Arts with an emphasis in Community Arts through a studio practice in photography and textiles. During her time at CCA, she was the administrator and Community Collaborations Director at the volunteer-run arts center Rock Paper Scissors Collective; she developed funding, business, and partnership processes that resulted in awards from the East Bay Committee Foundation, The San Francisco Foundation, and the City of Oakland’s Cultural Arts Program. Katherin organizes with Arts for a Better Bay Area and consults with the Housing Rights Committee of SF. As the Co-Director of Emerging Arts Professionals SF/BA, she strives to build a visible network for artists, local/small businesses, and government to communicate and share resources.

Southeastern Regional Envoy

Southeastern Regional Envoy

Yvette Angelique Hyater-Adams, MA-TLA, is Principal and Chief Storytelling Officer at Narratives for Change. Embracing “all things narrative” as her work in the world, Yvette is a poet and essayist, teaching artist, and narrative practitioner in applied behavioral science. A passionate mixed-media artist, Yvette uses collage and fiber arts to express stories. Projects span autoethnography, story circles, writing workshops, developing leaders, narrative inquiry, and facilitating community change. Goddard College and the University of Denver are where Yvette completed her graduate studies in Transformative Language Arts for Personal and Social Change and Creative Writing. She publishes on the topics of intersectionality, diversity and inclusion, transformative narratives, and "women as leaders of their lives." The Community Foundation of North Florida ArtVentures recognized Yvette’s writing and awarded her a grant to support the completion of her essays and letters project. Jennifer Chen Tran, Fuse Literary Agency, represents Yvette’s work.

New England Regional Envoy

New England Regional Envoy

Devon Kelley-Yurdin is a maker, educator, and community arts activist living in Portland, Maine. She specializes in illustration and design, printmaking, and art direction, as well as community arts administration and collective/cooperative models. As a Vermont native and graduate from Pratt Institute in Brooklyn who has also lived in the Bay Area; Austin, TX; and rural Maine, Devon carries a diverse set of skills and community experiences in her tool belt. She believes creativity can be found everywhere, and that putting together a well curated outfit or finding the perfect bread-to-filling sandwich ratio are perfectly viable creative activities. Her activism and personal art practice are formed around the belief that art is a powerful avenue to learn new technical skills, discover ways of thinking and looking, explore ideas of place and community, learn histories, and find points of connection with others.

Southern Regional Envoy

Southern Regional Envoy

Harold Steward is a Dallas, Texas-based arts administrator and theater practitioner who is dedicated to social justice and cultural equity. He currently serves as the Manager of the South Dallas Cultural Center and is a founding member and Director of Marketing for the Next Gen National Arts Network. Harold is also the Artistic Director of Fahari Arts Institute, a multidisciplinary, black queer arts organization in Dallas. He is a graduate of the inaugural class of the Zilphia Horton Cultural Organizing Institute in association with the Highlander Research and Education Center. Harold is a proud member of Alternate ROOTS and serves on the Board of Directors for the National Performance Network.

Don't yet have an Envoy covering your region? Don't worry! Over the next two years, we are developing a cohort of 12 highly creative and strategic Envoys who will serve as the public face of the USDAC in their regions. We plan to open a call for the next four Envoys in the spring of 2017. Please join the mailing list to stay posted on this and other opportunities: www.usdac.us/enlist

Standing With Standing Rock: Testimonies from the USDAC Lawrence Field Office

At the beginning of September, Cultural Agent Dave Loewenstein and Citizen Artists Nicholas Ward and Amber Hansen of the USDAC’s Lawrence, Kansas, Field Office joined fellow activists and artists journeying to the Sacred Stone and allied camps on the Standing Rock Sioux Reservation near Cannonball, ND, site of opposition to the Dakota Access Pipeline (DAPL). This blog incorporates excerpts from their personal accounts. On Friday, 30 September, in Lawrence, the Field Office, in partnership with the First Nations Student Association at the University of Kansas, is sponsoring a march through downtown Lawrence followed by an evening of storytelling, arts and music.

Nicholas and Amber: One week before departing in early September to join the Standing Rock Sioux Nation in solidarity against the DAPL, USDAC Citizen Artist Michael Bradly of the Lawrence, KS Field Office quickly organized a collection of supplies from the Topeka and Lawrence communities. When videographer Nicholas Ward left Lawrence, his minivan was brimming with camping gear, art supplies, and other requested items for the encampment. Winter coats (donated by Vermilion, SD’s Civic Council Center) were crammed in up to the ceiling. Two days later, Nicholas, Amber Hansen, Connie Fiorella and Dave Loewenstein arrived at Sacred Stone Camp. We were later joined by members of The University of Kansas’s First Nations Student Association and Black Lives Matter.

Dave, Arriving at Oceti Sakowin Camp: After a 12-hour, 750-mile windblown journey north, the encampment—really a village—appeared as we coasted into the valley where the Cannonball River meets the Missouri. From afar, it resembled an embroidered quilt framed by sage green hills and blue water; closer up, it resolved into a mosaic of tents and tepees and flags and fires. I’d never seen anything like it: a giant family reunion combined with the Occupy encampment at Zuccotti Park and a county fair. There were people representing more than one hundred fifty Nations, a school for kids, corral for horses, community kitchens, medical tents, a radio station, and more.

At the entrance marked by hand-painted signs, we were welcomed with open arms and ushered through a corridor of brightly colored flags from Tribal Nations across the continent. We found the donation tent and got help unloading. It was festive and purposeful: people lifting, cooking, chopping, organizing, playing, conferencing, planning, befriending. We made camp close to the Cannonball shore.

Camp Kitchen

Camp Kitchen

Nicholas and Amber: We set out on the 2nd of September to deliver requested supplies and to document the water protectors’ resistance against the DAPL. Our specific focus, tuned to the key of USDAC, was to tell a more nuanced account of the cultural and arts based efforts emanating from the heart of the encampment. [Watch the video here!] On this day, the combined camps swell to an estimated 5,000 people.

Our first day at the camp we spoke with Remy, a direct-action activist and movement artist working with First 7 Design Labs. On this day he was the facilitator of the camp’s first horsemanship event—even as the now-infamous dog attack and pepper spray incident perpetrated by employees of DAPL took place two miles to the north. Speaking passionately about the role of arts and culture in the camp’s greater community, Remy led us to a trunk filled with large-scale banners created with children at the camp’s school. “It’s more than just a banner when we take this to protests or to rallies. We’re taking those handprints, those prayers, those messages that are wrote on there and those are our people, so we’re not alone. When we take that up there we are taking our friends and our family.”

The USDAC urges us to imagine a world where arts and culture, stories and song come before the concerns of capitalism and quantification. In many ways this encampment is the embodiment of that vision.

Lakota elder Cedric Goodhouse, Sr. tells us that, “Our art is kinetic. Song, dance, language and art, is kinetic art. And by that I mean it’s movement, it’s holistic in movement, so you can hear it, you can see it, you can feel it, and that’s what music does, and then it helps you to understand better what’s going on.” He went on to tell us about new songs that are being written to mark this time and how music has been used to bring people together and to mark time throughout history.

Dave: Connie and I carried our first paintings to the Info/Donation tent, discovering that while we had been working, front-line protectors stationed where bulldozers had destroyed documented sacred sites were attacked by DAPL private security. Medics were dispatched. “Democracy Now!” was there. Here is their account.

Connie and I drove north to see for ourselves. We wove our way through beautiful rolling hills, past glimpses of the river, until the road was suddenly blocked by North Dakota State Police. Ten officers in full military gear behind heavy-duty concrete barriers: their purpose was not clear. As we slowed, a pole-mounted camera took photos of us. No questions, just a motion to keep going. Getting back was a different story. Nearly everyone was rerouted 30 miles out of the way, but somehow we squeaked through (I’m a white guy in my 40’s and told the officer we’d just been out getting ice cream cones….)

The ACLU and Amnesty International called the roadblock a civil rights violation, demanding that it be removed: "The U.S. government is obligated under international law to respect, protect, and fulfill the human rights of Indigenous people, including the rights to freedom of expression and assembly….Public assemblies should not be considered as the 'enemy.'”

Nicholas and Amber: The 11-hour drive home offers headspace for much reflection. The people we met are custodians and stewards with a long view of the ecological and spiritual health of this land. Considering the competing visions put forth by the tribes and the oil companies, it’s easy to choose who we’d want as upstream neighbors.

We take with us an unwavering confidence that those we have met are operating on an ecological altruism backed by prophecy and a deep sense of community pride that is growing stronger each day. In some ways, the protectors have already won.

We are humbled to be in the presence of so many people of all ages working together to create this multicultural community infused with the spirit of protection and resistance. On our journey home, we plan how to carry the experiences of our time at Sacred Stone back to our communities, standing in solidarity with the water protectors.

Dave: Our last night in the camp, most people and horses made their way north to the site where destruction had been halted and the dogs were unleashed. Our half mile-long procession spread across the road. At the site, we crossed the fence and with a blessing entered sacred land. We formed a large circle on the prairie filled with sage and wild flowers. Elders sang. We all prayed.

I was nearly overwhelmed by mixed feelings of loss, joy, and a sense of purpose. This was not only a denunciation of something bad and destructive, it was and is also a clarion call to the world, reaffirming the values of interdependence, gratitude, and love, acknowledging the incredible gift (and responsibility) of being able to share the earth with its creatures, waters, and peoples for a brief moment.

As the waxing crescent moon rose in the south, the northern sky started to flash, then rumble. Our Lawrence friends shared s’mores by the fire before a sideways rain forced us into our tents. We awoke to a calm, cool and overcast morning. Although our hearts would stay, we headed south towards home with the Missouri as our guide. 

For up-to-date information about the continuing opposition and background on the proposed pipeline, visit the Camp of Sacred Stones website and Facebook page. 

Cultural Democracy Now: Urge Democrats to Invest in Artists & Community Cultural Development

Political party platforms stake claims to the policies and positions voters are asked to endorse in electing a party’s nominee. A platform that can galvanize voters has to point to a future we actually want. The USDAC is all about envisioning a future animated by empathy, equity, and social imagination. Let’s dream together of a platform that actually captures that vision: would you vote for a candidate who supported this plank?

“It's time for a new public service jobs program, putting artists and others to work repairing physical and cultural infrastructure.”

Then please sign and share the USDAC’s petition to ensure that arts and culture are embedded in all efforts to strengthen our communities and address our social, environmental, and economic problems! If you're part of an organization with a website, newsletter, or social media platform, please spread the word.

It’s not that candidates, once elected, always follow their parties’ platforms. But some historians have concluded that the wider candidates’ margin of victory, the more likely they are to pursue the planks they ran on—and vice versa, a narrow margin equals a watered-down platform. At this writing, Republicans are trailing by quite a bit in the polls. What if the following plank were part of the Democratic platform the next President ran on?

“Democrats support cultural equity—a fair share of resources and power for all communities regardless of race, gender, ethnicity, orientation, geography, or other characteristics—in programs affecting America's cultural life.”

If you like that prospect, please sign and share the USDAC’s petition to bring us one step closer to true cultural democracy and cultural equity!

The Democratic Party has been calling for input on its platform. (We’d be glad to offer our two cents to the Republicans as well, but they aren’t asking.) You can watch hours of Platform Committee hearings and debates on C-SPAN if you’d like to see how it works. It's a negotiation, open till the convention. The party’s account of the first platform draft omits details on some key controversies: a vote to oppose the Trans-Pacific Partnership (TPP) trade agreement failed, climate activists want much stronger language and aggressive policies, and so on. Across the spectrum of issues, activists and policy wonks are working hard to affect the next two rounds of deliberation: a full Platform Committee meeting in Orlando on July 8-9, and a final vote of the entire convention in Philadelphia July 25-28.

Why? A platform can trigger far-reaching action: in 1860, 100 Southern Democrats walked out of their convention when it failed to pass a plank extending slavery, while the Republicans’ 1860 platform anti-slavery language was remarkably strong, establishing clear lines of conflict that ended in Civil War.

Why? Even a scrap of language in a party platform can seed future possibility. In 1872, the Republican Party platform referred to “the loyal women of America,” declaring that “their demands for additional rights” deserved “respectful consideration.” There was a tremendous amount of activism and perseverance to back up that assertion, and by 1920, three quarters of all state legislatures ratified the Nineteenth Amendment, ensuring women the right to vote. 

Suffragists asserting their rights in 1872 with a quote from Susan B. Anthony: "No self -respecting woman should wish or work for the success of a party that ignores her sex."

Suffragists asserting their rights in 1872 with a quote from Susan B. Anthony: "No self -respecting woman should wish or work for the success of a party that ignores her sex."

Cultural issues are vitally important to a future shaped by creativity, equity, and belonging, but right now, few aspects of culture are even part of the platform conversation. The Democratic Platform Committee’s first draft asserts “moral and legal responsibility to honor the sovereignty of and relationship to Indigenous tribes—and acknowledge previous failures to live up to that responsibility,” which is good news. Now it’s up to us to get other essential aspects of cultural democracy on the agenda. Imagine a platform that includes this core commitment:

“Democrats commit to invest in community cultural development as part of all public social programs.”

Adopting this plank would ensure that “Funding for community cultural infrastructure—for local spaces, skills, and materials—and for the work of artists as an integral part of all public programs related to social well-being—policing, education, health care, environment, and other essential social programs—must be priorities.” Wouldn’t that be amazing?

Everything created must first be imagined, including social policy. We have to start with a bold, vibrant, and far-reaching vision to inspire each other to take the steps that will make it real.

Citizen Artists and allies, please put your energy on the side of social imagination by signing and sharing the USDAC’s petition today!