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

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cally sound enough. Their language is sound enough—they are brown enough. I don’t want any other child to have to go through that. In my work at the history museum, we deal a lot with arts, and we tend to deal a lot with language. We definitely tend to deal with ethnicity. What I am trying to do is use history to open up the doors to find identity. Through history, I believe we can find a sense of culture—a sense of self—so that when an individual is comfortable, secure, and confident, that becomes a bed of soil from which leadership can grow. That is how we are dealing with things. We had a difficult time developing programs because I thought, “OK, I am going to start putting together these great programs for children and families, and they are going to come and we are going to learn and be this great community and it’s going to be wonderful.” So, at 12:00 noon, there I am with all my stuff, ready to do a program, and nobody showed up. So, what we decided to do, and I think it has worked and I think other people have used it as a model, is to take community-based organizations that are already successful and invite their participants into our programs. They are free to the public. They are diverse in their content and their format, and we are trying to reach different age groups and really trying to reach families. We are doing this successfully through the children. We invite the children first. When they experience something with us, we treat them as though they are equals. We work with them as individuals who can think for themselves, can identify with what is around them, and call it their own. We also observe them getting excited about the experience and find they want to come back with their parents. So, that is how we have reached out. That is the model we are using. There are a couple of bumps in the road. These have been touched on lightly—but I don’t think mentioned directly—upper administration usually does not represent the public as a whole. As a result, when there are one or two of us people of color in upper administration, we are sometimes put in a position of making decisions for an entire group that maybe we don’t represent. Because I am a younger Hispanic female, I may not be sensitive to the needs of older Hispanic females. Because I am female, am I really reaching out and expressing or presenting and allowing for Hispanic men to feel welcome in our institution? I find this very difficult. So, what I have chosen to do is go to other minority groups, not just Hispanic, and ask them to give me feedback so that I don’t have to trust only myself. I trust what I have asked of other people. Another problem has been people saying, “Well, if we have never been represented before, why should we give you a chance?” And my response is that 80% of success is showing up. If you want to own it, if you want it to be yours, if you want some representation for yourself, you need to show up. Maybe you won’t like it the first time, maybe you won’t like it the second time, but it is there and it is yours and it will be there as long as you show up. We touched on language earlier today, and I think it is a very important thing to talk about. We have been talking about American society, and because the museum where I work is a state institution, there is a great deal of controversy as to whether or not using Spanish—we have both official languages in New Mexico—will put off people who don’t speak Spanish. There are also people who may be Hispanic but don’t speak Spanish and feel awkward about that. Still other people understand Spanish well but feel uncomfortable speaking it. As a result, I find it is kind of touchy as to whether or not language should be involved as a primary distinguishing element in an organization’s interface with the community. I think if it is done in a very familiar way with art institutions, cultural institutions, history institutions, if it is done in a non-threatening—maybe even nontraditional way—museums tend to use Spanish in their texts, or they will produce an English text and a Spanish text. What we are doing is putting it more into the programs instead of just visibly out there. We produce dual museum guides, 70
ut what we are trying to do is exercise the language so that we can give it back to individuals who are uncomfortable with it. I think it is a tragedy that, in other countries, it is valued when a person speaks more than three languages. Yet, in this country, you are considered perhaps not as intelligent if you speak in a language other than English. I find that is a hurdle for us. We need to come together and jump over that hurdle by taking up another language and making examples of ourselves to show other people that it is not threatening to speak in another language. Speaking in another language can open the mind and open the perceptions of a particular piece of art or a particular piece of music. 71
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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
Page 15 and 16:
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
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 64 and 65: 3 Helen Dick, How to Remove Spruce
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: Topic 3: Leadership Styles in Ethni
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
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