The New Face of Arts Leadership in the West - westaf - The Western ...

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a new member of the Americans for the Arts Emerging Leaders Council and served on the planning committee for the 2005 Emerging Leaders Pre-Conference in Austin. In 2002, she co-moderated two interactive workshops on the topics of leadership development and emerging-leader issues. Prior to joining NAMAC’s team, Ault worked as a video editor at the Wexner Center for the Arts in Columbus, Ohio, where she worked on projects such as Flag Wars (Linda Goode Bryant, Laura Poitras, 2003), HABIT (Gregg Bordowitz, 2001), and Swan Tool (Miranda July, 2001). Her experience in the arts also includes exhibiting her own work and curating public programs. She holds a BFA in painting from the University of Michigan, Ann Arbor. Suzanne Benally Suzanne Benally is the chair of the Environmental Studies Program at Naropa University in Boulder, Colorado. She has extensive experience in higher education policy, assessment, and diversity. Formerly, she directed an Institute on Ethnic Diversity at the Western Interstate Commission for Higher Education. Benally has worked with the American Indian Science and Engineering Society as an interim executive director and director of education programs to address the concerns and needs of American Indian education in grades K-12 and postsecondary education. Her special interests and research have focused on the relationship between land and place as expressed through written and oral literature. In addition to her many activities, Benally has a consulting practice that has included work with foundations such as the Ford Foundation, Packard Foundation, and James Irvine Foundation. She is a member of the WESTAF Board of Trustees. Benally is Navajo and Santa Clara Tewa. Anna Blyth Anna Blyth is the multidisciplinary arts coordinator at New Mexico Arts, a division of the Department of Cultural Affairs in Santa Fe, New Mexico. She works with the grants program, which provides funding to organizations to support arts programming statewide. She is the division’s public information officer and the editor of the quarterly newsletter, ARTSpeak. She has also worked as an assistant to the division’s grants and public art programs. Blyth has a strong interest in creating more opportunities for access to the arts in her community. She is a member of Avant Garde, the Museum of New Mexico Foundation’s young members group. She helped coordinate an exhibit for young artists called The Pushpin Show in Santa Fe in April, 2005, which featured artworks that were either hung with or incorporated pushpins into their design. The event targeted young, underrepresented artists in a free-form show that was well attended and was free to attend and participate in. She is a graduate of the University of New Mexico with a degree in history. Danielle Brazell For over 13 years, Danielle Brazell has created innovative performance works that have been presented domestically and internationally, taught performance workshops, and contributed to the performing arts through her curatorial vision and administrative leadership. As a founding member of the performance collective Sacred Naked Nature Girls, which debuted with Untitled Flesh (1993-1994), Brazell enjoyed the support of the Flintridge Foundation, which commissioned their next two works. In 2000, Brazell became the artistic director of Highways Performance Space, assuming the position from founding director Tim Miller for a five-year tenure. That same year, she was recognized by OUT magazine as one of the most influential gays and lesbians working in theatre and in 2001 was described by The Advocate as an “Innovator” in the arts. She has received the California Community Foundation’s Getty Visual Arts Initiative Award and was honored with the Lester Horton Service to the Field Award for her commitment to the Los Angeles Dance Community. She also has received support from the California Community Foundation’s Gay and Lesbian Fund, Liberty Hill, and the City of Santa Monica and has been a California Arts Council Artist in Residence. In addition to preparing for A Queer Exchange, 116
her third City of Los Angeles Artist in Residency project at California State Los Angeles, Brazell is earning her B.A. at Los Angeles City College and working with the Screen Actors Guild Foundation as the director of special projects. Juan Carrillo Juan Carrillo is a retired arts administrator now focusing on becoming an art maker. He is a trustee of WESTAF. For 27 years, he managed many of the grant programs of the California Arts Council, serving as deputy director for most of those years. He has served on numerous federal, state, and local arts agency advisory and funding panels and represented the Arts Council to legislative committees, state and national conferences, and private and public advisory bodies. He is a founding member of several arts groups, including the Royal Chicano Air Force, an artists’ collective, and the Center for Contemporary Art in Sacramento. He also served as a founding board member of The Association of American Cultures and the Concilio de Arte Popular. He enjoys drawing and writing. Carrillo has a B.A. in American history from the University of California, Berkeley, and a master’s degree in education and cultural anthropology from California State University, Sacramento. James Early James Early is the director of cultural heritage policy at the Center for Folklife and Cultural Heritage at the Smithsonian Institution in Washington, D.C. Since 1984, Early has served in many positions at the Smithsonian Institution: assistant provost for educational and cultural programs, assistant secretary for education and public service, director of cultural studies and communications at the Center for Folklife and Cultural Heritage Studies, and interim director of the Anacostia Museum and Center for African American History and Culture. Prior to his work with the Smithsonian, Early was a humanist administrator at the National Endowment for the Humanities in Washington, D.C; a producer, writer, and host of Ten Minutes Left, a weekly radio segment of cultural, educational, and political interviews and commentary at WHUR FM radio, Howard University; and a research associate for programs and documentation at the Howard University Institute for the Arts and Humanities in Washington, D.C. Over the course of a nearly 30-year professional career, Early has consistently recognized the integrity of historically evolved values and cultures of African-American, Latino, Native-American, and Asian-Pacific-American communities and investigated and participated in mediated cultural encounters that inform national and global policies. The main focus of his work is cultural democracy policy. His public service includes board memberships at the Institute for Policy Studies, the Democracy Collaborative, Telesur Television, Fundacion Amistad, The Transnational Institute, and The Association of American Cultures. Early holds a B.A. in Spanish from Morehouse College in Atlanta, Georgia, and completed graduate work in Latin-American and Carribean history with a minor in African and Afro-American history at Howard University. Nan Elsasser Nan Elsasser is the founder and executive director of Working Classroom, Inc. She has a B.A. in international relations from American University, an M.A. in secondary education from the University of New Mexico (UNM), and is ABD in educational linguistics at UNM. Her teaching experience includes working with UNM’s Navajo Teacher Education Project, the University of Albuquerque, the Institute of American Indian Arts, and the University of the Virgin Islands. She received a Fulbright Teaching Fellowship at the College of the Bahamas and, in 1994, received a scholarship to the Executive Program for Non-Profit Leaders–Arts at the Center for Social Innovation at Stanford University’s Graduate School of Business. Her work on educational equity has appeared in Harvard Educational Review, Journal of Education, College English, Humanities in Society and the International Journal on the Sociology of Language, and in Freire for the Classroom 117
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The New Face of Arts Leadership in
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The New Face of Arts Leadership in
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Table of Contents (continued) B. Th
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Introduction By Len Edgerly The New
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Symposium Participants The informat
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Keynote Address: Diversifying the F
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So, leadership has a much different
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directly visible. Sometimes, change
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as storytellers, keepers of cultura
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tonight. Can you talk a little bit
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are we talking about? Is it in the
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8 Craig E. Johnson, Meeting the Eth
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Ming Luke: My name is Ming Luke. I
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am really more interested in social
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scholarship is computer-mediated co
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“Which is the path?” for the Ze
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up to me and asking me who is going
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Saturday—I am not certain that we
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e that leadership and be in control
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Topic One: Language as it Relates t
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mainstream. I want them to destroy
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Ganbold Presentation This text is a
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assertions are an effort to avoid l
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eal people.” Everybody is “the
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videos—How to Remove Birch Bark,
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Meaning does not lie solely in the
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culture. In that scenario, my audie
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show me the way to be the most humb
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3 Helen Dick, How to Remove Spruce
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its celebration of the new year fro
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Response and Discussion Shane Morem
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month, they work together and learn
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In February, we are having a gather
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120 events per year, and they have
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a leader and you have an incredible
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or anything like that, but building
Page 80 and 81: ut we have to help them help us und
Page 83 and 84: Topic 3: Leadership Styles in Ethni
Page 85: ut what we are trying to do is exer
Page 88 and 89: traditional leadership. There are m
Page 90 and 91: she wanted to get married. What doe
Page 92 and 93: I think that it is very important t
Page 94 and 95: We also have students on our board
Page 96 and 97: think about sustainability, to thin
Page 98 and 99: Ideally, when an institution needs
Page 100 and 101: likely a number of highly qualified
Page 103 and 104: Topic 4B: Emerging Leaders in the A
Page 105 and 106: opment programs to help them move f
Page 107 and 108: to say “no” and learn to say
Page 109 and 110: complained about lack of support, b
Page 111 and 112: Summary and Final Comments Shane Mo
Page 113 and 114: When we were talking about language
Page 115 and 116: I am a historian and an anthropolog
Page 117 and 118: am using the analogy that we all ca
Page 119 and 120: We have to foster and mature young
Page 121 and 122: List of Preliminary Readings on Lea
Page 123 and 124: References and Works Cited Aguirre,
Page 125 and 126: West, Kanye. “Heard ‘Em Say.”
Page 127 and 128: Symposium Process and Agenda About
Page 129: Participants’ Biographies The bio
Page 133 and 134: the Metropolitan State College of D
Page 135 and 136: Shandiin Sunrise is creatively buil
Page 137 and 138: Symposium Observers Lucero Arellano
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