1. HMD is working with consultant Safi Jiroh (LeaderSpring Center) on developing a model for its transition to distributed leadership.
2. Power Shift: Improvisation, Activism, and Community, the Bridge Project’s 10th Anniversary program, concluded in November 2020. Visit bridgeproject.art for a full archive to this and other Bridge Project programs.
What role does deepening distributed leadership within HMD play in dismantling white supremacy?
Question #1 Footnotes
1. A description of the characteristics of white supremacy culture, by Tema Okun.
What overlaps have you experienced between our conversations around distributed leadership and your current art practice?
Question #2 Footnotes
1. Cherie Hill IrieDance company.
2. Choreography by Hope Mohr.
3. A record of Karla Quintero’s artistic work.
4. Cherie Hill’s photo and essay response to the Aesthetic Equity workshop, co-facilitated with Liz Lerman & Paloma McGregor, and co-presented with Yayoi Kambara’s Community Engagement Residency “Aesthetic Shift”.
5. A recording of the Conversation on Aesthetic Equity, presented October 2020 as part of the Festival Power Shift: Improvisation, Activism, and Community.
What is gratifying for you about how we are working with artists?
Question #3 Footnotes
1. HMD’s Community Engagement Residency was founded in 2007. The program provides year-long support for select artists, especially those historically marginalized, to engage their communities in social justice oriented art. Core values of the residency include equity, dialogue, process, artist autonomy, the intersection of art-making and activism, and building relationships among artists.
In the past 6 months, many art organizations have issued statements of solidarity with the Black Lives Matter movement, and calling for diversity, equity, and inclusion in the field. What do you make of these calls to actions? What do you think art organizations need to do to make solidarity meaningful?
Question #4 Footnotes
1. “I Said, Can You Hear Me Now?” A letter to the white American dance community from the International Association of Blacks in Dance.
2. “Why I Resigned From The California Arts Council In The Middle Of A Pandemic” by Sarah Rafael García.
3. “The Failure of Arts Organizations to Move Toward Racial Equity”, Op-ed by Quanice Floyd.
If the performing arts shifted so that every organization, theater, artist, and funder implemented equity-driven models of leadership, programming, and practice, how would the field be different? What would it look like?
Question #5 Footnotes
1. Iris Crawford writes about Power Shift’s closing workshop, The Keystone of the Arch: Embodied 100 Years Vision, co-facilitated by Yalini Dream & Tammy Johnson.
2. What Happens when a Group of Artists is Put in Charge of a Presenting Organization?, an article about Performance Space NY (PS 122) sharing 2020 initiative to shift organizational resources into the hands of artists.
3. Performance Space New York Hands Budget and Keys Over to a Group of Artists, more on the abovementioned initiative.