The Native Hawaiian Artist Fellowship is for Native Hawaiian artists nationwide who are active in traditional arts, dance (all genres from hula and beyond), music and visual arts. Applications completed by 5 p.m. Pacific Standard Time on Thursday, Jan. 15 will be considered.
Complete your entry today at: http://your.culturegrants.org
Plural, a project founded in 2012 out of the School of the Art Institute of Chicago (SAIC), has released a landmark study on US and Canadian ethnocultural (ethnic) arts organizations. The study, Figuring the Plural: Needs and Supports of Canadian and US Ethnocultural Arts Organizations, is available in electronic form through the website www.pluralculture.com.
Intervening in discussions about gentrification and placemaking, cultural activist Roberto Bedoya champions the creative resilience found in communities of color—and exemplified by the Chicano practice of Rasquachification—to suggest "placekeeping" as a strategy for advancing racial justice goals.
I grew up in a working-class barrio called Decoto, in San Francisco’s East Bay. My neighbors were the Trianas, who had painted their house hot pink. I loved it. The Trianas’ house was across the street from the grounds of the Catholic church. Many of the Anglos who lived in the new tract homes being built around my barrio parked their cars in front of the house on Sunday, and I recall how they would speak ill of it as they made their way to church. For them the house was too bright. But for me the brightness represented Rasquache—an aesthetic of intensity that confronted our invisibility, our treatment as less than.
To my dear friends in the Land of TAAC,
I am going to take some informal license and write this TAAC blog entry as a personal letter reflecting on my years of involvement with this national cultural equity advocacy organization run by a dedicated board and no paid leadership staff.
After the San Jose Open Dialogue, Louis Leroy approached me and Jennifer Armstrong to ask if we would join the TAAC board. This was in 2003, meaning that Jennifer and I have been board members for more than 10 years. You can figure out how many Open Dialogues have transpired during that time. Denver, Pittsburg, Chicago and Providence.
Leading with diversity and inclusion as a selling point for theatre? We often get funny looks from new group leaders with that opener. At a theatre with Shakespeare in the name? Truth is we lead with the art. OSF’s playbill increasingly reflects varied cultural traditions, and its commitment to diverse voices and classical repertory. So yes diversity and inclusion with Shakespeare.