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

Recommendations

Info

3 Helen Dick, How to Remove Spruce Bark, video recording, private collection of Annette Evans Smith, Anchorage, AK. 4 Ben Harper and the Innocent Criminals, “Two Hands of a Prayer,” by Ben Harper, Burn to Shine, Virgin, 1999. 5 Langston Hughes, “Let America Be,” The Collected Poems of Langston Hughes, ed. Arnold Rampersand (New York: Vintage Classics, 1994) 191. 6 Edward Sapir, Selected Writings of Edward Sapir in Language, Culture and Personality, ed. David G. Mandelbaum (Berkeley : University of California Press, 1949). 50
Topic 2A: Perspectives on Diversity in the Arts Today: Issues Related to Biracial Individuals and Cross-Group Prejudice Sarfaty Presentation Sarfaty showed a Powerpoint presentation with images of cultural festivals in Seattle while she spoke. Orit Sarfaty: In my biography, I mentioned that I am also an urban planner. I work at the Seattle Center. At the Center, one of the missions is to present a series of community programs to the public. One of the programs we are most proud of is our series of cultural festivals that we have called Festál. My presentation is about culture as it is filtered through these cultural festivals. What I find most interesting is that, as culture and our idea of culture are evolving, I, as a member of the festival executive committee, have to grapple with how the festivals can accurately and relevantly portray culture to the community. First, some background. The Seattle Center is a product of the 1962 World’s Fair. It is where the Space Needle is located. As a community member and a planner, my observation is that the Center is the closest thing Seattle has to a town square. It is where the naturalization ceremony happens; it is where the running marathon begins and ends; and it is where, on 9-11, thousands of people spontaneously gathered for a five-day vigil. That town-square element is particularly relevant for the festáls, the cultural festivals that come to this campus under the backdrop of the Needle—the city’s totem pole, if you will—and present their wares to mainstream society, to anyone who comes by. These are free, mostly outdoor festivals that occur in tandem with the Sonics basketball games, with the Wagner Ring Cycle, with people walking their dogs. The mission statement, “The Festál showcases events that promote the cultural and ethnic traditions of our heritages for the enjoyment and enlightenment of all people in the larger community,” points out two things. The first is that, for a community to decide it wants to show its wares in a very public setting, at Seattle Center, that community has to think about what it wants to represent to the outside community. Depending on where that community is, as a new immigrant culture, as an established culture, as one that wants to dispel stereotypes, the festivals reflect that lens. The festivals are born out of the community. A leader of a community comes to Seattle Center and says, “I want to participate in this series. I am from the Pakistani culture and I want to have a three-day festival. Will you help me with labor, with cultural facilities, with marketing?” That is what Seattle Center does. It also performs a service in introducing many people who aren’t familiar with the process of grant writing and fundraising to that process, and that has become very helpful as well. The second point of the mission statement is the community-education piece. The belief at Seattle Center is that you don’t want to be talked to. The word education is used very sensitively because that word, in some circles at Seattle Center, is seen as condescending. If culture is presented at the Seattle Center, then it should be on everyone’s own terms. If you want to get something more out of it, then it is your choice to get closer to that culture, rather than you having to take a seat, watch a presentation, and take back what they want you to take back. We currently host 19 festivals. In the coming year, we are adding three more. Eventually, the thought is that every single weekend is going to have a discrete festival. To point out a few: The Tet Festival celebrates the Vietnamese New Year, the Seattle Cherry Blossom Festival has been around for 30 years and has a very fascinating history, and Bastille Day celebrates French culture. A tremendous number of strengths has been developed through the sponsorship of festivals. One strength is that the community itself has to decide how to present a culture to the public. For the Vietnamese culture to move 51
Page 1:
The New Face of Arts Leadership in
Page 5:
The New Face of Arts Leadership in
Page 8 and 9:
Table of Contents (continued) B. Th
Page 11 and 12:
Introduction By Len Edgerly The New
Page 13 and 14: Symposium Participants The informat
Page 15 and 16: Keynote Address: Diversifying the F
Page 17 and 18: So, leadership has a much different
Page 19 and 20: directly visible. Sometimes, change
Page 21 and 22: as storytellers, keepers of cultura
Page 23 and 24: tonight. Can you talk a little bit
Page 25 and 26: are we talking about? Is it in the
Page 27: 8 Craig E. Johnson, Meeting the Eth
Page 30 and 31: Ming Luke: My name is Ming Luke. I
Page 32 and 33: am really more interested in social
Page 34 and 35: scholarship is computer-mediated co
Page 36 and 37: “Which is the path?” for the Ze
Page 38 and 39: up to me and asking me who is going
Page 40 and 41: Saturday—I am not certain that we
Page 42 and 43: e that leadership and be in control
Page 45 and 46: Topic One: Language as it Relates t
Page 47 and 48: mainstream. I want them to destroy
Page 49 and 50: Ganbold Presentation This text is a
Page 51: assertions are an effort to avoid l
Page 54 and 55: eal people.” Everybody is “the
Page 56 and 57: videos—How to Remove Birch Bark,
Page 58 and 59: Meaning does not lie solely in the
Page 60 and 61: culture. In that scenario, my audie
Page 62 and 63: show me the way to be the most humb
Page 66 and 67: its celebration of the new year fro
Page 68 and 69: Response and Discussion Shane Morem
Page 70 and 71: month, they work together and learn
Page 72 and 73: In February, we are having a gather
Page 74 and 75: 120 events per year, and they have
Page 76 and 77: a leader and you have an incredible
Page 78 and 79: 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 and 130:
Participants’ Biographies The bio
Page 131 and 132:
her third City of Los Angeles Artis
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
show all

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

Create successful ePaper yourself

Delete template?

Save as template?