Crescendo Cultural

A Position PAPe r : thoughts and recommendations for the Future of Latino Arts in the United states table of Contents since its inception, the national Museum of Mexican Art has been

Contents Foreword

F committed deeply to the young Latinos and future Latino art leaders. Presently, there are five young women from Chicago’s Mexican e o community who are part of the Museum’s full-time staff who began b L as interns. our commitment to youth and the next generation extends tA 3 Foreword beyond the interns we hire for our programs and departments, to the various youth arts and media programs the Museum has organized 7 Acknowledgments since it opened its doors in 1987.

8 Purpose this year, the Museum celebrates twenty-five years of dedication to Mexican art, culture, and community. We are excited to present the 10 Defining Latino Arts and its Greater impact position paper of the Crescendo Cultural taskforce as part of our celebratory activities to mark this great year. 17 Artistic Programming - Curatorial Production and Presentation From the onset, the level of enthusiasm regarding Crescendo Cultural, 21 Art as a Catalyst for social and economic Development a historic taskforce of young, Latino, art professionals brought together to participate in effectively shaping the future of the arts in the U.s, 24 supporting Artists and Artist Communities has been fantastic. this is the first time that such a convening has taken place and the publication of the position paper is timely. Latinos 28 improving and Developing organizational Management are now the largest group of color in the U.s. at 16% percent of the total population and their voices and participation will make a positive 36 Latino Arts and Cultural experts impact on the arts.

38 Arts education Background 43 Art therapy the national Museum of Mexican Art is not an institution that wishes to work alone. its commitment to preserve and present the Mexican 44 smithsonian national Museum of the American Latino culture to a diverse audience is shared with many organizations across the country – some of which have been in existence longer than the Museum. 47 Future of Crescendo Cultural – next steps We understand that our sister organizations that present art and culture from Latino ethnic groups play vital roles along with us in educating the 49 Profiles of Crescendo Cultural taskforce Members current and future generations of the United states. the Museum has collaborated with several Latino organizations since it began its operations.

With the beginning of the recent economic recession, we observed that the survival of several Latino arts organizations across the country was in jeopardy. national and local arts funding had been cut dramatically

2 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 3 across the board and audience levels had dropped due to income frequent plane flights can more easily learn and enjoy their heritage, cuts. Furthermore, several of these organizations had laid off staff culture, history, music and art than previous generations. Moreover, members from administration to arts education or canceled an entire they have increasing and up-to-date access to news, music, dramas, season of performances. A few organizations have closed their doors documentaries, and comedies in spanish with the rise of broadcast, entirely or remained open with small operating budgets to cover the cable and satellite networks. the new reality of immigration has indeed most basic services. made nations more than just physical places but a vast and growing network of people and ideas. or D naturally, members of the Museum staff became increasingly concerned Contents

F about this new reality. We began to ask ourselves - why are Latino arts Latinos in their teens, twenties, and thirties are also different from their ore W organizations so vulnerable? What else can we do as an institution parents, grandparents and great-grandparents in other significant ways. F e o to assist our fellow organizations to continue to preserve, present, and racism continues to exist but generally it is not as blatant as it was b L educate about the Latino arts and culture? How can collaborative a generation before. instead racism is hidden within existing power tA efforts and the growth of Latino arts continue in isolation? As the largest structures and this extends to the arts world. increasingly, Latinos interact Latino arts organization in the U.s., the Museum understands that we socially with individuals outside of their ethnic groups as they attend have a responsibility to serve organizations committed to similar goals. school and begin to work. Many young Latinos have benefited from the the future of the Museum is intrinsically tied to them as well. We do not sacrifices that their parents or previous generations fought for in terms want to work in isolation. it benefits no one. of access to education, housing, and career opportunities. in the past decade as Latinos have become the largest people of color population Museum staff had several discussions about what the possible underlying in the U.s., they have witnessed the visible growth of their communities challenges were for many arts organizations particularly those like and neighborhoods. Furthermore in many regions and cities across the ours. these challenges ranged from weak organizational management U.s., Latinos are the majority or comprise sizeable populations. and lack of a diverse funding base to poor marketing and audience development. Yet, what challenge continued to surface to the top was today Latinos can maintain their cultural traditions and adopt American the need to nurture the next generation of Latino arts leaders. cultural practices with a freedom and ease that previous generations of ethnic immigrants could only dream to attain. U.s. society has begun to the birth of Latino arts organizations across the country was a direct shift from the melting pot model to a salad bowl model – where many result of efforts by baby boomers who participated in and observed the cultures and groups reside in this country and have the potential to expansion of civil rights and women’s rights coupled with the growth of succeed while being perceived as American also. Latinos do not have to Latino populations who fought for more representation and equity. now assimilate to succeed in the U.s. or lose their language, culture, or identity. more than three decades later, the boards and executive management of these Latino arts organizations must begin to pass the leadership even with these changes, the reality for Latinos in the U.s. is far from torch to the next generation whose experiences are often very different perfect. We must acknowledge that much more is needed to assist from theirs. For this to succeed, the next generation must have the skills, the socio-economic and political development and growth of Latino experiences, and opportunities to continue the preservation of these communities across the U.s. Latino arts and culture can play a organizations and take them to the next level. fundamental part in shaping the dialogue and moving towards a more promising future for everyone. What makes the younger and upcoming generations so different? Arguments have been made that Latino cultural institutions are not the reuters article, “Global seagulls and the new reality of immigration,” needed or soon will not be needed. opponents argue that there are highlights a phenomenon that has grown increasingly relevant with the too many ethnic-specific or cultural-specific institutions – why should newer generation of immigrants and also extends to their U.s. born they be supported along with the other arts organizations that are not children.1 the global world has shrunk and our access to current news ethnic-specific? t hese challenges are made to ethnic-specific art and developments from our native or ancestral country has expanded organizations because opponents may not understand or fully appreciate exponentially. Young Latinos in the U.s. through internet access or the benefits of these institutions or the value of cultural identity and art

1 Chrystia Freeland, reuters (october 6, 2011).

4 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 5 for individuals and their communities. Without adequate support, the staff andt askforce participants distributed studies, reports, and articles next generation of Latinos will not be prepared to take on the current about arts and culture, arts education, organizational and board and future challenges that threaten Latino art throughout the U.s. development, and fundraising to the taskforce.

The Crescendo Cultural Taskforce Creation During the convening on July 15th and 16th, 2011, Crescendo Cultural the national Museum of Mexican Art set out to host a convening of young Coordinator Linda Xóchitl tortolero facilitated and moderated the r D Latino artists and art professionals to discuss the state of Latino arts and discussion. twelve topics were chosen for the convening’s discussion culture in the U.s. and their ideas and concerns about what the next steps all of which were analyzed in great depth. through a lively and engaging Contents

F should be. As part of this process a select group of participants, 35 years conversation, topics of the current state of affairs for Latino arts and ore WA and younger, came together for Crescendo Cultural. culture in the U.s. and the participants’ role in its future became F e o increasingly prevalent. Participants understood deeply the significance b L During its twenty-five years of programming and service, the Museum of clearly defining the scope of Crescendo Cultural including its tA has a long and proud tradition of providing mentorship to culturally objectives, goals, audience and how to disseminate, distribute and specific arts organizations across the nation and has created mentorship promote the final position paper. programs to help facilitate discussions and future partnerships. in this vein, Crescendo Cultural is a program designed to encourage the Museum staff hopes that Crescendo Cultural will one day serve mentorship. but instead of seasoned art professionals mentoring the as a model for engaging populations of young artists and art leaders to next generation, the next generation of art leaders will educate cultural become a louder voice and more active participant in arts and culture institutions, universities, private and government funders, and scholars throughout the U.s. about what should be the agenda and goals for the preservation and presentation of Latino arts and culture in the U.s. sinceramente, to secure a diverse and highly experienced taskforce, the Museum decided to conduct an application process for participants throughout the country. Carlos tortolero We posted application information on our website and sent email blasts President through our extensive list serve. We sent emails and letters and made calls to arts leaders who participate with or work in Latino cultural institutions including museums, cultural centers, theaters, dance companies, studios and performance networks. We targeted specific artists and art leaders whose work the Museum staff had become familiar with or knew about Acknowledgments With a generous grant from The Joyce Foundation, the National through other artists, cultural leaders or conferences. Museum of Mexican Art was able to create and coordinate the Crescendo Cultural Taskforce. We thank Ellen S. Alberding and As a result of these efforts, our call for applications received a huge the Board of The Joyce Foundation for their continuous support. nationwide response that allowed for a high caliber of Crescendo Our sincere thanks goes to Michelle Boone, who while serving as Cultural taskforce participants. We chose to select 14 instead of the the former Senior Program Officer of The Joyce Foundation and proposed 10 participants from a diverse applicant pool of professionals. now the Commissioner of the Chicago Department of Cultural Affairs and Special Events, believed in the purpose and goals of The Process the Taskforce from the very beginning. Ariana Cervantes of The During the months preceding the convening, staff prepared an agenda Mexican Museum in San Francisco assisted our staff with note through an ongoing conversation with participants about proposed taking during the convening and for this we thank her. Special topics. Given the short time frame of two days, the taskforce was keenly gracias to Elsa Saeta, Director of the Women’s Center at DePaul interested in selecting topics of upmost interest to the participants and University for taking the time to give the paper a final review. those that are most pressing for Latino arts preservation and presentation Finally, the Museum also would like to thank our amazing staff across the country. to supplement the convening’s discussion, Museum that assisted with the coordination of this project.

6 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 7 topics that require utmost attention and that will n Art therapy is an untapped resource for Latino educators, transnational organizations, foundations, Purpose be touched upon, are: communities. More efforts are necessary to government agencies and funders, professional introduce art therapy programs at social service arts associations, and social/mental health n sustainability and capacity building are and arts organizations and to encourage the service organizations. the taskforce’s audience the Crescendo Cultural taskforce joins a series fundamental for all Latino arts organizations. development of Latino art therapists. includes visual artists, musicians, dancers, of national collaborative efforts that seek to uproot therefore, diversifying the funding base of performers, authors, actors, arts educators, and the institutional practice of discrimination that arts organizations is an essential component in this precarious time when arts funding sources arts administrators within the Latino community. ose permeate throughout the arts and culture sector to address both areas. have been cut across the board nationally, it Contents

F in the U.s. this paper offers recommendations becomes imperative to make a strong case it is imperative that Latino arts organizations also

PU r P toward that end. inequity in the arts exists in the n Future generations of Latino arts leaders for Latino arts and to articulate their impact on target audiences outside of the Latino community. e o United states as evidenced by funding practices must be nurtured through a commitment the greater community. Artists form part of a building bridges to new audiences of distinct b L in the arts. the majority of arts funding is still to increase intergenerational collaboration. community’s living archives – they along with ethnic/racial communities, age groups, arts tA allocated to organizations including museums, Mentorship and training will support both our youth, parents, and grandparents are the communities, etc. will increase the likelihood of an symphonies, and opera companies that serve healthy transitions of power and adoption of embodiment of cultural continuity and patrimony. organizations’ success and longevity.4 the United mainly white (european and european American), new ideas and tools. supporting Latino artists, arts organizations, arts states is a nation of tremendous diversity, and wealthy audiences despite their declining education, and funding are absolutely necessary Latino arts organizations, in light of their ethno- attendance.2 it is crucial that the next generation n individuals and organizations vested in Latino for Latino arts and culture to continue to thrive in cultural focus, must reach beyond their traditional of Latino arts leaders continues to advocate arts must increase the number of allies who our current social fabric. audiences. More than ever, Americans of all racial for increased equity in funding to the arts and will be donors, arts advocates and enthusiasts. and ethnic backgrounds and socio-economic adamantly encourage funders to allocate dollars this will inevitably lead to increased financial Audience classes have shown a great interest in other to institutions and programs that better represent support for Latino arts, sustainable arts Whoever constructs and represents culture, countries and the global cultures. Americans, not our U.s. demographic reality and our country’s organizations, and larger audiences. affects the conceptions that are formed about just Latinos, must become educated about Latino cultural fabric. that culture. Art functions within a matrix between history, arts and culture within the national narrative n investment in the capitalization of arts auction houses, art dealers, collectors of art, because our history and contributions have been to address the long-standing marginalization organizations and artists will lead to museums, art critics, art historians, and universities. ignored far too long. one pathway to broadening that has occurred against ethnically specific art independent programming and decision- this matrix affects standards and practice and audiences is through the development of strategic organizations and those that serve people of color making that is reflective, relevant, and manages art what [sic, recte what art] the public partnerships and collaborations with non-Latino including the Latino population, philanthropic responsive to our changing communities. has access to and how it is perceived.” 3 organizations and educational institutions. support (from individuals, public and private foundations as well as from federal, state and n the broader supply and demand economic this matrix extends to the players and institutions the Crescendo Cultural taskforce does not municipal sources) must be given more equitably. model applies to Latino arts organizations within theater, dance, music, literature, and other propose this as an all-inclusive, comprehensive Additionally, funding must be given more broadly as well. thus, they must be attuned to the artistic forms, and highlights the important role that or formal policy paper. instead the position paper to organizations that serve diverse communities ever-changing needs and demands of Latino various aspects of the art world have in determining presents the ideas and observations of the young across racial and ethnic backgrounds and across communities and to the breadth of Latino conceptions about a particular culture. taking Latino artists and art professionals in the taskforce. economic lines within these communities. arts programming that is already in place. this into consideration, the Crescendo Cultural We know that there is a sincere and widespread Adaptability and commitment to positive taskforce thoroughly considered the audience interest in the paper and anticipate that it may through this paper, the Crescendo Cultural change are crucial. for the position paper. the position paper should act as a catalyst for new ideas and programs that taskforce hopes to address these issues and appeal to a broad range of individuals and will positively impact Latino art and culture in the the current state of affairs through the lens of a n Arts education for Latinos of all ages will organizations with a stake in Latino arts in the U.s. We urge Latino artists, art professionals and younger generation of Latino arts leaders. stimulate the development of future U.s., from mainstream to those in the margins art organizations to find and create opportunities allies, advocates, and enthusiasts for the arts. such as: think tanks, universities, professors, to work together to support and promote Latino We have a profound concern about the future role Programming in arts education must museums, theater and dance companies, cultural arts. We are confident that the next generation of Latino arts in our communities and U.s. society. be prioritized. centers, galleries, performance art centers, arts of Latino art leaders will advance the practical

3 Maria teresa Avila, “Conceptions and representations of Latinos and Mainstream Museums in the United states” smithsonian Center for Latino studies, at 2 (2003). 4 el 2 the executive director of national Committee for responsive Philanthropy stated the present funding situation is unhealthy for the arts. brett Zongker, “Arts Funding is supporting Museo del barrio, Queens Museum of Art, and studio Museum in Harlem are collaborating on an exhibition – Caribbean Crossroads – that will consider the visual arts and A Wealthy, White Audience: report” the Huffington Post (october 10, 2011). aesthetical development across the diverse histories of the Caribbean islands. Public programming, special events, and an educational initiative will accompany the exhibition.

8 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 9 development and presentation of Latino arts and Latino Ethnic Demographic Breakdown lives11, African diasporas, and a hemispheric sense Latino consciousness. Afro-Latino movements culture through quality programming, continued according to 2010 U.S. Census 6 of belonging that includes brazilian Americans; across the two continents have yielded great professional development, scholarly research, and and 4) most significantly Latino/a is a matter of discussion about what it means to be black and broad audience engagement. self-empowerment, sustaining diversity, and our Latin American coupled with an expanded effort rts Ethnic Origin Number % of Total freedom to choose the identities that best describe by Afro-Latinos to increase their communities’ A Mexican 31,798,258 63.0 who we are. empowerment.13 being black, as a political state Puerto Rican7 4,623,716 9.2 of being exists beyond the African-American tino Many Latinos also use multiple categories or terms experience, and extends to countries like brazil,

Contents Cuban 1,785,547 3.5 F Salvadoran 1,648,968 3.3 to describe themselves. An Afro-Dominican born Jamaica, Colombia, Puerto rico, Guyana, Antigua, in Philadelphia may describe herself as Dominican, and south Africa as well.14 e o Defining Latino Arts Dominican 1,414,703 2.8 black, Latina and American, or an ecuadorian inin G LA b L and its Greater impact Guatemalan 1,044,209 2.1 raised in Los Angeles may call himself ecuadorian, increasingly across the U.s., indigenous families tA 15 D e F Colombian 908,734 1.8 Latino and American. it is critical to have a full have also emigrated from Latin America. Honduran 633,401 1.3 understanding and appreciation of the complexity indigenous groups continue to be systemically Who are Latino/as? What is Latino? Ecuadorian 564,631 1.1 of what it means to be Latino/a in the U.s. identity marginalized and displaced from their lands, it is impossible to begin a discussion about Latino Peruvian 534,358 1.1 is key to the human experience and more so in contributing to immigration. the arrival of arts without first defining who Latino/as are. it is multicultural societies where discrimination based indigenous groups from Latin America makes the best to start simply and describe what they are not. on identity continues as a pervasive and often Latino experience in the U.s. richer and more Latinos are not the monolithic group, ethnicity, or overwhelmingly, Latinos identify themselves by their blatant practice. complex. Many indigenous children and their race that the United states government and media ethnic or national origin first and not an “umbrella” parents speak spanish as their second language, make them out to be. this hemispheric identity racial definition.8 Many Latinos identify themselves Race and the Latino Identity if at all. With distinct languages, cultures, is too richly complex for narrow categorization by shared cultural traits rather than race (which racism and discrimination remain prevalent and and experiences based on myriad indigenous based on a group of common interests, languages, usually refers to physical traits).9 We acknowledge pervasive throughout Latin America. Unfortunately, identities, how does the greater Latino population practices, beliefs, and concerns. Latinos are that the term Latino/a is not a perfect term.10 it we do not often have conversations about race in the Us successfully represent their voices in people residing in the U.s. who are immigrants or is a term like Hispanic, used primarily as a racial/ in Latin America and among Latinos in the U.s. the national discussion of arts and culture? What descendents of people from Latin America. Like ethnic category or social construct in the United the legacy of the three largest groups inhabiting cultural forums are available where indigenous all immigrant communities, there are often vast states. Yet among many young Latinos, it is the the Americas: indigenous, African, and european communities can represent themselves and ethno-cultural and socio-economic differences preferred “umbrella” term or category for multiple - led to the formation of dynamic cultural traditions their creative work? What alliances can emerge from first generation through later generation reasons: 1) Hispanic is a term adopted by the and practices separate and apart from a person’s between the greater Latino community and populations in the U.s. Federal Census bureau and imposed on the Latino bloodlines or DnA. these groups blended together indigenous communities in the arts? population; 2) Hispanic refers to “of spanish origin” to create varied and distinct Latin American cultural According to the 2010 U.s. Census’ demographics which by emphasizing whiteness or european traditions and practices. even if some Latinos do the indigenous and Afro-Latino populations on the country’s Latino population, there are about descent, downplays the contributions of other not have direct African, european or indigenous remain isolated and/or discriminated against in 50,500,000 Latinos living in the U.s. reflecting groups. this is especially important considering heritage, their culture often incorporates these Latin America; an extension of colonial culture about 9% of the entire U.s. population. this is a that many Latinos may not identify with european elements through language, diet, religious beliefs, and deep rooted institutional racism. How can 43% increase from the 2000 U.s. Census. this ancestry and have stronger indigenous and/or world view, and traditions.12 this cycle be broken once they are in the U.s.? does not reflect all undocumented immigrants or African cultural heritage; 3) Latino/a is a more How do Latinos, most who are of mixed ancestry, those of mixed race or racial heritage.5 inclusive term that encompasses post-colonial An increased interest in Afro-Latino studies both illuminate their issues regarding arts and culture in Latin America and in the U.s. over the past within the larger discourse on national to Pan- 16 5 http://www.census.gov/prod/cen2010/briefs/c2010br-02.pdf 6 this chart does not reflect all the Latino ethnic groups but the largest in terms of numbers and that have a two decades highlights the growth of an Afro- American cultural production and social justice? percentage of 1% or higher. For a complete breakdown, see “the Hispanic Population: 2010,” (http://2010.census.gov/2010census/data/ 7 Puerto ricans in the U.s. are not immigrants. since 1917, all Puerto ricans are U.s. citizens, many have migrated from the Commonwealth of Puerto rico, a U.s. territory, to one of the states within the U.s. Yet, Puerto ricans face similar experiences as other immigrants from Latin America. 8 in a Pew Hispanic Center survey of Latino adults conducted in 2006, 48% of Latino adults 11 Despite the political status of “commonwealth” many Puerto ricans, particularly those of the pro-independence and pro-statehood persuasions, maintain that the island is still a preferred to identify themselves by their country of origin first, 26% as Hispanic or Latino, and 24% as “American”. (http://www.pewhispanic.org/2009/05/28/whos-hispanic/ colony of the United states, in which case the term “post colonial” would not apply to Puerto rico. 12 Groups of indigenous peoples as well as African descendents in Latin America 9 Mireya navarro, “For Many Latinos, racial identity is More Culture than Color”, the new York times (January 13, 2012). 10 to further complicate the definition and use of do not have their own separate cultural traditions and practices that are distinct from the culture represented by a majority population. 13 see Anani Dzidzienyo and suzanne obo- Latino/a – one must consider that Latin America is abundantly diverse in terms of race, language, music, religious practices, aesthetics, artistic expressions, racial integration, history ler, eds., neither enemies nor Friends: Latinos, blacks, Afro-Latinos, Palgrave Macmillan (2005) and Henry Louis Gates, Jr., black in Latin America, new York University Press (2011). and more. Latin America is a vibrant combination of multifarious cultural features, geographies, phenotypes, practices and life ways– a mestizaje beyond binarism. Latinos in the 14 Arturo Alfonso schomburg, a Puerto rican historian, writer, and activist in the United states during the Harlem renaissance, researched and raised awareness about the great U.s. are an extension of this complexity. therefore one cannot determine or define a Latino/a by classic definitions of race. Latino/a is a category of peoples whose ethnic and contributions of Afro-Latin Americans. other examples include Aurelio Martinez, the well-known Garifuna musician and politician from Honduras (http://www.afropop.org/multi/ cultural heritage originates from Latin America – a vastly diverse region, inclusive of north, Central, and south America, along with numerous Caribbean islands. What’s more, the interview/iD/187) and the Puerto rican rapper tego Calderon (http://globalfusionproductions.com/fbl/tego-calderone-defining-race-among-latinos/).15 Geoffrey Decker, “Hispan- immigrant experience is not always the same for all Latinos nor are the reasons why families chose to immigrate to the U.s. vary tremendously. Additionally, the socio-economic ics identifying themselves as indians”, the new York times (July 3, 2011). 16 new York’s Caribbean Cultural Center African Diaspora institute works towards the social, cultural, and educational backgrounds of Latinos are not all similar. and economic equity of the African Diaspora through its multiple performances, concerts, workshops, and educational programs.

10 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 11 Latino arts professionals have a responsibility to a Puerto rican cuatro concert in Chicago, a will ultimately limit an organization’s potential and culture for present-day and future generations. ensure that indigenous populations in the U.s. Chicana performance artist in san Diego, and an as the political landscape changes. Artists, Furthermore, the richness and imaginativeness have a welcoming space to display their arts. they abstract Cuban art exhibition in Ft. Lauderdale, all too, constrain themselves if art practices were of the arts among Latinos are great and so- can also assist them to identify and work with represent aspects of Latino arts. by denying the myopically identity-based.”19 but this should not called “low” arts should not be relegated to a rts collaborators who are invested in the promotion breadth and depth of Latino cultural production, mean that Latino artists, who explore the social lower position because they form part of Latino A of indigenous scholarship, art and culture within a simple definition can threaten those Latino and political complexities of their identity through culture and artistic expression. overall, efforts to our communities. the lived experiences and artists that create and celebrate unique art forms their work, should be dismissed for not embracing increase the lucrativeness of all arts will help level tino worldview of indigenous populations must be and practices that are beyond the traditionally a more universal aesthetic. neither should Latino the playing field through increased exposure via Contents

F ethically portrayed always with their direct input accepted Latino arts aesthetic. artists feel compelled to tone down the identity- scholarship, critical reviews, exhibitions, auctions and approval. indigenous populations akin to based or political themes of their work to gain and galleries. e o Afro-Latino communities merit opportunities to What fate awaits Latino artists who do not conform acceptance by the mainstream or absorbed into inin G LA b L represent their own stories, arts and cultures to the accepted Latino arts aesthetic or who are their organizations or supported by philanthropic With the dramatic increase of the Latino tA

D e F within and outside arts organizations, schools and regarded as inauthentic Latino/as and embrace institutions. Latino arts will not flourish if it does population in the U.s., the influence of Latino other learning environments. other artistic forms, concepts, and practices? Will not evolve and remain relevant to Latinos. Latino cultures permeates U.s. society. but as bearers they receive the support, recognition, and visibility artists must have the ultimate power to decide of these traditions and representatives of their As vital groups of the Latino Diaspora, Afro-Latino given to more traditional Latino artists? Will funders the direction of their art and the mainstream must communities, Latino artists and arts professionals and indigenous communities must be included in overlook traditional artists for not conforming to become more flexible to true freedom of artistic must carry the torch and become the foremost the preservation, presentation, and development mainstream conventions? increasingly, Latino expression. Anything less would be discriminatory. presenters of Latino arts and culture. otherwise, of Latino arts.17 the greater Latino community artists have emerged as practitioners of non- the integrity of what it is to be Latino/a or what has a responsibility to engage its Afro-Latino and Latino artistic traditions, themes, and practices. there is an urgent need to educate mainstream arts constitutes Latino/a will continue bound by limited indigenous components and must identify and these contemporary artists are influenced by professionals from all fields - curators, producers, categorizations defined by others outside of Latino develop ways to educate the larger population a global world and do not necessarily desire to educators, art professors, and critics - about the communities. about this often hidden or ignored dimension of create art that preserves or interprets the works diversity of Latino arts and culture. increased “Latino-ness”. Moreover, we must acknowledge of their predecessors who explored their identity awareness and sensibility will lead to a fuller Latinos in the Mainstream – Ensuring and celebrate Latin America’s place within the through their art. Yet, they too should participate representation of Latino art and artists in the field. Diversity African Diaspora and encourage African American in the ongoing dialogue about Latino arts and the idea and expectation that there is only one ¡Ya es hora! now is the time – to re-define and and Latino solidarity through our shared African educate Latinos and non-Latinos about its breadth. acceptable Latino aesthetic or expression must be diversify the mainstream art world. cultural roots. 18 Many contemporary Latino artists seek to create corrected. Funders also should fund art developed new art by discussing particular themes through beyond the accepted art aesthetic because artistic the lack of Latino representation in arts Embracing a Broader Latino Arts Aesthetic a Latino lens – such as a performance art piece innovation often occurs on the fringe. organizations such as museums, performing arts racial identity politics has negatively influenced about Germany’s Weimar republic, apartheid in centers, theatres, and dance companies thwarts the manner in which Latino arts have been 1980s south Africa, or privileged prep girls in the “high art vs. low art” conundrum also compounds the development of broad Latino audiences consumed, produced, portrayed, and excluded in 1950s new england. the expectation on Latino the situation when in actuality more equity is and support for the arts. to achieve a robust arts education. this has trickled down into the artists to embrace an “authentic” or traditional needed.20 All arts deserve equal footing and perspective, strategic framework, and sustainable ways Latino arts are “taught” in public schools Latino arts aesthetic inhibits the creativity of their oftentimes, certain art forms such as folk art, audience, it is essential to intentionally turn over and universities. Without describing and affirming artistic production in a manner not imposed on textiles and fabric arts, and performance art are not boards and staff, and to include Latinos who can the complexities of the Latino/a identity, we their white counterparts. provided with the same levels of financial support advise on strategies for program and audience cannot explain the grave error of an essentialized and opportunities. in addition, Latinos should gain development. “Latino arts aesthetic” often used and embraced A former arts funder highlights the dangers of an enhanced appreciation of traditional folkloric by the mainstream art world. Latino arts cannot this narrowly defined aesthetic: “Many culturally arts, dances, and music as living and evolving More Latinos are needed at mainstream arts be pigeonholed. A Peruvian wind instrument specific creative organizations founded in the components of Latino arts, culture, families and organizations. Although many organizations already street performance in Minneapolis, a Dominican 1970s were centered on an identity politic of its community.21 traditional folkloric arts and the new, have retained Latino professionals, their integration traditional bachata dance performance in boston, core artists. While essential in its time, this focus exciting interpretations inspired by them form part into the leadership and ability to make positive of an incredibly important continuum of Latino arts changes to programming varies widely. Possible

17 the primary spokespersons for Afro-Latino and indigenous populations must be members of these communities themselves. the greater Latino community must work relationally with Afro-Latino and indigenous communities because their lives poignantly contribute to the intricate and extraordinary narrative of the Americas and of the larger 19 John r. Killacky, “regrets of a Former Arts Funder”, blue Avocado (http://www.blueavocado.org/content/regrets-former-arts-funder) (June 23, 2011). 20 Consider the brilliant human experience. 18 nMMA organized the exhibition – African Presence in Mexico – that traveled to several U.s. and Mexico cities and included numerous community events works of Latino and Latin American folk artists. often, folk art is downgraded to “low art” – which undervalues the creativity, workmanship and drive of these artists. 21 our human and educational activities. this exhibition also involved the participation of an international team of academics – Mexican and African American - from both Mexico and the U.s. existence and genealogies require continuous artistic and cultural productions to flourish and to help contextualize the contemporary moment for future generations.

12 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 13 suggestions include appointing a diversity human they represent Latino arts by being wholly who and corporate giving programs are part of a Latino arts organizations employ for its advocacy, resources coordinator or forming a committee they are and by being part of the communities public investment, which should include a diverse fundraising and communication efforts. to review and evaluate resumes and applications they choose. approach to the arts. for hire and promotion. transparency for any art Increasing Inclusivity of Latinos in the rts professional candidate seeking employment is vital Best Practices: Latino/a Arts Professionals Latinos are significantly underrepresented Mainstream A as it informs the applicant about any needs to gain in the Mainstream in mainstream visitorship and audiences.23 the issue of inclusivity is also of supreme importance additional skills or experience for desired position. indeed, Latino arts professionals working in Admission fees for most arts organizations make as is Latino accessibility to the arts. if Latino artists tino Mainstream art institutions should encourage the mainstream face numerous challenges. attendance or participation challenging for a are excluded from mainstream institutions directly Contents

F Latino employees to seek opportunities to move nevertheless, they can create positive impact for wide array of communities. information about or indirectly, not only will their voices and works be up the hierarchy through mentorship, constructive their communities within these organizations. in discounted fees, free days, or special programs is denied to large audiences, but also discriminatory e o performance evaluations, and effective coaching. addition to providing proactive guidance or ideas, often not widely or effectively disseminated to the and inaccurate productions may result. inin G LA b L they should: target community. Without access, many Latinos tA

D e F tokenism, the phenomenon of one person of do not reap the benefits of the arts and are less Playwright stephen Adly Guirgis publically color on a staff or board is an ineffective hiring n Actively seek opportunities to engage various likely to become its champions.24 Designing discussed his disapproval of non-Latino actors in practice at many organizations and corporations – circles of influence to change systems, programs and initiatives that are focused on the role of Puerto rican characters in a production especially large ones. A true shift that embraces policies, and practice; “demand-side” decision-making will ensure of his play “the ______With the Hat” diversity must stay away from tokenism and hire that individuals attend the arts experience they at theaterWorks in Hartford, Connecticut. He many qualified people of color at various levels n Pursue opportunities to engage and value the most. Art organizations should provide expressed his great displeasure in Artsbeat: “What i and sectors of an organization. no matter the transform policies and practices; and, opportunities for individuals and families to attend do care about – deeply – is that i wrote a play where professional field or organizational type, it is their institutions and participate in their programs the two leads are clearly Latino, and Latino actors important to hire Latinos that understand the n Maintain continued connection to community by seeking resources to help facilitate greater were completely shut out of the casting process for diversity of the Latino experience and are capable to ensure voice and perspective, and to accessibility.25 Philanthropy has the opportunity those two roles.”26 He discussed how theaters wish and open to working and reaching out to serve a remain adaptive, relevant, and responsive to to play a significant role to increase access to to broaden their audiences and then some make wide spectrum of Latino communities. the Latino changing community needs. these institutions and to ensure an interest or decisions that are “non-inclusive”.27 this is not the experience is varied - a Puerto rican may not “demand” for specific types of arts and cultural first or last time a theater director or producer will have a broad understanding of Cuban traditions, a Latino/a Accessibility to Institutional Arts programming. Funders that put the responsibility cast white actors for Latino roles without hosting Venezuelan may not be an “expert” on Panamanian and Culture for building demand and providing accessibility on an open casting call. still today, Latinos are shut culture. this expectation is unreasonable and since institutional organizations, most often in the arts organizations will lead to increased attention out of roles designed for them. theaters, like other shortsighted. Latinos, like all people of color, must mainstream, receive the majority of public and to audience development and service to broader arts organizations, should not subject audiences to be fully represented at all levels of staff in order private funding for the arts, their boards and staffs communities’ interests and needs. the “time warp” that Guirgis felt when he saw this to achieve a more balanced representation in the have a responsibility to attract audiences that will production without Latino actor representation in a mainstream and have sustainable authority in the sustain the organization over time. today, the U.s. the question of accessibility naturally informs city with a 40 percent Latino population. decision-making process. has more artists and arts and cultural groups of the perceived public value and whether arts are color, however, philanthropy does not reflect that seen as a luxury or as dispensable. Creating a the recent staging of a more modern Cuban- simultaneously, there is a widespread sense of reality. Art and cultural groups with budgets of strong message about the impact of arts and rendering production of Much Ado About “burden” or “responsibility” among Latino artists and $5,000,000 or greater represent less than 2% culture articulates more persuasively the value of nothing at the shakespeare theatre Company in art professionals to represent all Latinos, the entire of the sector, yet in 2009, these larger groups art within the Latino community. impact highlights Washington D.C. provides an example of Latino Latino experience, or to be the “quintessential received 55% of all arts and cultural funding.22 include: increased knowledge of sequencing, misrepresentation in the arts. some considered Latin.” Mainstream arts organizations should not overwhelmingly, arts and cultural organizations motor dexterity, and 21st century technological the changing of two minor characters to “Juan encourage or oblige their Latino employees to of color are smaller organizations by budget skills and improved literacy, discipline and self- Huevos” and “Jose Frijoles” as demeaning and know everything about the Latino community, or and size. in order to increase funding equity, esteem. it is important to include these highlights stereotypical.28 Further the accuracy of Cuban be the resident Latino expert. Latino artists and large companies also should provide corporate and provide examples as part of the messaging cultural references infused in the play was called art professionals should have the freedom to fully giving grants or sponsorship funds for Latino arts

represent his or her particular Latino experience. organizations of all types and sizes. Foundations 23 Center for the Future of Museums (AAM) has recorded a decline in minority visitorship to museums: http://culturalpolicy.uchicago.edu/publications/Demographic-transforma- tion.pdf 24 Arts educators should engage in an on-the-ground approach: engage with public schools, children’s hospitals, street fairs, community festivals, and other community venues. 25 Cool Culture in new York City serves as and intermediary for low incomes parents and children, especially in Head start, with cultural organizations. through its programming, free admission to 90 cultural institutions is provided to about 50,000 families at a value of 1.5 million dollars. 26 stephen Adly Guirgis, “theater talkback: Diminish- 22 Holly sidford, “Fusing Arts, Culture and social Change: High impact strategies for Philanthropy” national Committee for responsible Philanthropy (october 2011). For more ing the ‘Hat’? About that Casting Controversy” the new York times: Artsbeat (December 9, 2011). 27 id. 28 Peter Marks, “shakespeare theatre’s ‘Mucho Ado’ raises question information see Urban institute, national Center for Charitable statistics Core File [2009] (http://nccsdataweb.urban.org). of Latino stereotypes” the Washington Post, (December 19, 2011).

14 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 15 into question. taking the possible audience within the cultural landscape) financial support to sustain Latino arts and culture in the U.s., Latino support of non-linear modes to curate exhibits reaction into consideration – one Latino director and audiences will diminish. Additionally, the lack parents and their children must also become and produce plays and concerts can lead to more was especially concerned about the association of of understanding of arts’ role and benefit to Latino champions and advocates of public art education. dynamism and energy for artistic production and those characters by Latino students to members in communities acts as a strong impediment to arts the significance of art education as a fundamental thus, increase and diversify audiences. there are rts their community.29 theater and dance companies organizations, artists, and arts educators working part of academic success with equal standing cyclical creations of new art forms from the time of A need to improve their outreach to Latino actors, in marginalized communities that need dynamism to other academic fields and its role in cultural the ancient Americas until today. With the limitless dancers, producers, theater designers, etc. and and fiscal development. preservation and inter-cultural understanding expanse of new and traditional Latino arts, Latinos tino provide them an opportunity to participate in should be consistently and effectively emphasized. have additional tools to educate others about the Contents

F staging plays and choreographing shows that the value, contribution, and impact of the arts Latino arts organizations can be key advocates for complexities of the Latino identity. are Latino and non-Latino. by doing so, they will must be communicated at every socio-economic art education’s important role in preserving Latino e o increase their cultural sensitivity and competency level of Latino society. to do this there are several culture and encouraging academic success. since U.s. born Latinos, not immigrants, will inin G LA b L and lessen the possibility of inaccurately portraying areas that should be addressed and confronted: fuel the increase in Latino population, the Latino tA

D e F Latinos and their community. it is inexcusable for by providing a path for empowerment, voice, identity will move away from the immigrant a theater company or arts organization to not n Adopt language and messages to discuss community building, and the dissipation of experience and perhaps, lessen its cultural engage Latino communities when producing or arts and culture in order to gain allies within silence, art therapy must also be encouraged ties to Latin America.32 nevertheless, curators curating works that depict or feature Latinos, their the community and among those who have as an incredible asset for recovery, growth, and and producers should continue to maintain and art, and culture. Latino artists, like all artists of decision-making power to increase support cycle of healing for Latinos who need social and support artistic and cultural practices, traditions, color, deserve fair representation of their work, for Latino arts. At times, art and culture can mental health services. efforts should be made forms and expressions rooted in Latin America which can truly broaden their audiences. be misconstrued as iconoclast or as luxury, to integrate artistic and cultural literacy for adults, and the earlier Latino experience. and therefore unnecessary; perhaps by providing art workshops, classes, The Potential Role of Latino Arts in Latino tours, and artist talks to adults. As a result, Latinos Due to a deficiency of scholarship and the lack Communities n Promote Latino arts and culture as a crucial will not only expect public art education and art of dialogue with curators and producers who For some Latinos defining the arts or even Latino component of public education policy as therapy that includes Latino arts and culture, but may have a wider knowledge of the great Latino arts is difficult.t he term “art” is problematic for it relates to classroom and afterschool also demand it. arts dynamic, the mainstream has greatly ignored many non-Latinos and Latinos alike because instruction and across disciplines. this will Latino arts or has emphasized certain art forms or of its historical entrenchment in elitism and help counter the prevalent decline of arts styles over others. the “lack of visibility” of non- rampant cultural appropriation by the West. this education in schools that serve Latino and Western art in mainstream institutions leads to a dissonance is further complicated by the lack of African American children which results decline in financing that results in “slow, halting visibly celebrated contemporary Latino artists and in fewer opportunities to educate the next research” where fieldwork and scholarship is Latino art champions within their communities. generation of artists and creative thinkers;30 Artistic Programming- genuinely needed.33 this actuality makes the case engaging Latinos in the arts, however, is a matter again for the need to support Latino and Latin of broadening the understanding and acceptance n increase strategic communication marketing Curatorial Production American art historians and scholars to write in of the role of culture in the community. efforts with set goals to reach audiences using a collective way about Latino and Latin American overwhelmingly, Latinos love their cultura and accessible media - print, internet, mobile efforts, and Presentation artists. in turn, these experts are necessary to embrace their tradiciones. Unfortunately due social media, television, radio and others;31 and educate others within regional and transcultural/ to issues regarding access, many Latinos do When an organized and unified voice is crafted, transnational contexts. not always recognize the arts as a vibrant part n employ accessible terms and concepts Latinos may begin to see the integration of of la cultura. Perhaps as a result of internalized as part of the messaging effort that would Latino arts and culture further woven into The Presentation of Latino Arts in the racism or miseducation, too often Latinos fail to make the arts relevant to everyday issues the fabric of society in the U.s. as new art Mainstream appreciate or give the same validity to Latino arts and concerns such as neighborhood advocates are developed. Latino artists and art leaders should challenge as they do to art shown at mainstream spaces. beautification, social justice, innovation, job mainstream institutions to operate differently Without the integration and cultivation of the vital creation, academic discipline, workforce Artistic representation and programming that when curating and presenting Latino arts forms. role of culture in the larger arts landscape, and readiness, tourism development, and creative embraces both “traditional” and new Latino artistic some have begun to do so: “since mainstream vice versa (or specifically the vital role of the arts knowledge production. expressions are needed. the introduction and museums participated in the construction of

32 “the children of immigrants are not their parents.’” Gregory rodriguez, “towards a new Mainstream?” Center for the Future of Museums, Washington D.C. (http://futureofmu- 29 id. 30 http://artsedwashington.org/research/nea-study-sharp-decline-in-arts-for-minority-kids 31 Gretchen Livingston, Latinos and Digital technology, 2010, Pew research seums.org/events/lecture/rodriguez.cfm) (2009) as quoted in Farrell and Medvedeva, Demographic transformation and the Future of Museums at 18. 33 Holland Cotter, “Under Center http://www.pewhispanic.org/2011/02/09/latinos-and-digital-technology-2010/. threat: the shock of the old”, the new York times (April 14, 2011).

16 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 17 misconceptions and negative portrayals of Latin today, Latinos are the largest ethnic or racial group by becoming more inclusive and representative of coverage and utilizing the internet and social media American and Latinos over time… it is now their in the country – this is the present-day U.s. reality. to Latinos, the mainstream organizations do not have platforms. Also it has been noted that Latinos responsibility to educate the north American survive long-term, the vast majority of mainstream to discontinue exhibitions based on european or value cultural activities that emphasize “family public about the relevance and contributions of organizations will have to adapt their programming American curatorial and production themes that unit” and include educational components.42 Latino Americans and Latinos in the U.s.”34 Many to meet a U.s. demographic that continually shifts.38 have been historically celebrated and attended. Creating complimentary educational units or

AMMin G consider mainstream institutions as the supreme some institutions already have jumped on board instead they need to broaden their presentation activities in-house, or through coordination with authorities on all art forms, and funders and donors by hiring, contracting, or commissioning curators of works, exhibitions and performances based on partners can help meet this family demand. G r allocate the majority of funding resources to these or producers with expertise in Latino arts – such themes and topics that reflect the cultures and Contents ro 40 F entities. therefore, it becomes more crucial as the smithsonian institution, the Los Angeles interests of their local communities as well. Latino theater, as one Latino actor stated, is still that they engage Latino curators and producers County Museum of Art or the Goodman theater in “its infancy” having been around only since e o to diversify the frames and themes of visual and in Chicago. recommendations for mainstream and Latino artists, however, also must take responsibility the last century.43 Latinos attending theatrical b L performing arts programming. non-mainstream arts organizations include: for increasing their exposure. Most institutions have productions is a new development and relies on tA C P rtisti

A a slide registry that compiles images of artists and a rising middle class with the disposable income Mainstream arts organizations must produce n Create outreach initiatives to recruit artists information on file for the purpose of selecting to become patrons. Latino theaters need funding new material beyond the traditional standards. for submission, make information available artists for future exhibits and programs. Visual for infrastructural improvements, audience in its analysis of neA’s 2008 survey of Public and accessible on how, what, when and artists should submit to registries at ethnic and development, and marketing.44 Latino theater, Participation in the Arts (sPPA), the authors of where to submit to these registries. mainstream institutions alike to ensure maximum like Latino audiences, has vast potential to be Demographic transformation and the Future of exposure for their work. smaller, alternative further developed and nurtured. Museums highlight the lower attendance numbers n research Latino artists, conduct studio visits venues or organizations should also be pursued of particular arts in the U.s. especially “traditional so producers and curators can familiarize if an artist’s access to bigger institutions is limited. the creation of new Latino productions and ‘high culture’” activities like jazz, ballet, non-musical themselves with their artistic productions, read exhibitions is only half the battle. Making them theater and classical music.35 by increasing the their works, or attend their performances. Expanding Public Consciousness successful will lead to sustained financial support number of new exhibitions and productions of and Interest in Latino/a Arts for Latino producers and curators who wish to Latino arts at mainstream and non-mainstream n organize community advisory committees Curators and producers are tastemakers - it’s create groundbreaking projects. success entails organizations, attendance will increase, new from a diverse cross section of the population their job to introduce artists, ideas, forms, and meeting audience demand. building audiences generations of art enthusiasts will develop and to assist with identification of new artists styles into society. At the same time, they have for new productions and exhibitions requires the more diverse audiences will be engaged. and styles. they can help to promote new the power to present new material in an exciting realization of several factors such as excellent programs that target different cultural groups way in the limited amount of arts spaces available marketing and brand development, press Further, it has been observed that many in their communities such as free music to present new exhibitions and performances.41 opportunities, and making the arts organizations, mainstream organizations are eager to “address and dance showcases. by doing so, arts this in turn may increase and diversify audiences especially in the mainstream, more accessible and the new changing demographics of their organizations identify new audiences that can for the art itself. Latino arts organizations must warm to Latino audiences. to engage new Latino museum’s neighboring communities” and build potentially serve as allies and donors. embrace innovative styles, forms, and techniques audiences, arts organizations must enter into a their audiences by showcasing art from institutions at every level of artistic and cultural production. long-term, proactive commitment to develop in Mexico.36 Granted Mexican art is one example n establish a young or all ages Latino arts biennial Alternative ways to present art outside of galleries Latino/a audiences and patrons. it is critical of Latin American art and there may be immense that is free of restrictive themes. Adopting and theater performance areas are also needed. that Latinos’ experiences and their accessibility interest to see that art within the Mexican and broad curatorial themes allows for the inclusion to art in the mainstream are enhanced and the Latino communities, yet the mainstream cannot be of new talent and pieces from the organization’s to attract interest, arts organizations should commitment by mainstream arts organizations dependent upon Latin American art to represent permanent collection or repertoire and support new production endeavors by engaging to make improvements is sincere. Helpful steps Latino arts. the mainstream should not “bypass highlights works that the mainstream should new allies and creating partnerships for marketing include making the organizational websites more [ ]” Latinos – their artists, community experts and collect or commission instead of recycling the and audience development; this includes seeking user-friendly, having materials translated into organizations.37 same works and performances.39 free public service announcements and news spanish, and hiring a responsive staff.

40 Comparisons across cultures are helpful in order to describe a particular work of art, but the danger lays when the comparison to something european or American is a valida- tion and when art is only considered valuable if it is inside the mainstream box. 41 For instance, if visual arts curators go beyond the traditional curatorial approach and consider multi-disciplinary approaches, then they will become producers. 42 Farrell and Medvedeva at 14. 43 Kerry Lengel, “Despite Hispanic Population Gain, Latino theater still trying 34 Avila, at 4-5 (2003). 35 Farrell and Medvedeva at 12. 36 Mariano Desmarás, “observation on the AAM Annual Meeting of Us-Mexico Directors”, brokering Culture, American to Find Audience in Phoenix” the Arizona republic (March 12, 2006). the infancy of Latino theater is relative to the time span of other cultures’ theatrical histories which for the Association of Museums, (http://www.aam-lnpic.org/?p=52) (June 8, 2011). 37 id. 38 Carlos tortolero, “Making Museums Connect Locally, nationally and Globally” Museum most part are longer. For one overview of Latino theater, see “100 Years of Latino theater in America” Latinopia.com (March 6, 2010) (http://latinopia.com/latino-theater/100- news at 41 (January/February 2007). 39 For the past 16 years, Mexic-Arte Museum in Austin, texas has run an annual Young Latino artists exhibition. el Museo del barrio in new years-of-chicanolatino-theatre/). 44 id. Audience development encourages habits of attendance and arts engagement, both done more easily with younger audiences through York City has curated six annual biennial exhibitions - bienal: the (s) Files featuring emerging Latino, Latin American and Caribbean artists that highlight new contemporary works. their schooling, family life, and the later when they begin to earn an income.

18 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 19 Arts organizations of all types should identify new the performing arts or traveling exhibitions, or and/or current issues and events facing the partners from different arts mediums to increase fund arts education programming. Actor and Art as a Catalyst for community. this has led to organic alliances with audience size and to make improved and unique comedian Cheech Marin has been an avid organizations and others that share these needs cultural productions. those who are interested collector of Chicano art for many years and has social and economic and interests. in the arts and patronize their programs will most amassed an impressive collection – as a result, Development AMMin G often have a natural interest in more than just the profile and value of the works of several Community activism through the arts offers an one art medium. Cross-partner productions and Chicano artists has increased. Latino star power opportunity to partner with socio-political awareness G r events can diversify and expand the audiences can help elevate the public consciousness and or grassroots campaigns. the partnership possibilities Contents ro

F for participating arts organizations. For example, appreciation of Latino arts. can touch on key issues for Latino communities such a theater and a visual arts organization can team as environmentalism, physical and mental health, e o up to sponsor the production of a play about Latino arts organizations should advocate for the arts can be a catalyst for fundamental social gender and sexuality, access to quality education, b L an artist’s life or create joint arts education Latinos to collect and invest in artwork – sculpture, and economic growth. it can also be a point of human or social rights, to name a few. the marriage tA C P rtisti

A programs for adults and children. paintings, prints, folk art, textiles, ceramics, collaboration with diverse partners to accomplish of art and activism often leads to cultural organizing, drawings, photography, mixed media, etc. they mutually beneficial goals. t he arts offer placing art and culture at the center of an organizing Another means by which to increase the should encourage them to donate works to their opportunities in creative community development strategy and also about doing it from a particular success rate of new Latino productions and collections too. by doing so, these organizations initiatives and public education advancement both mission, vision, tradition, cultural identity, and exhibitions is to bridge the divide between help build a visual public for Latino arts within encourage on-going engagement. With the proper community of place or worldview.46 the organization’s programming and art their communities which can translate into other support, artists and arts organizations can develop education departments. Whenever possible forms of assistance. organizations should create their communities into cultural destinations Arts engagement with communities also can lead complementary arts education programs should an acquisitions committee or council that invites where visitors may serve as audience members to positive social development such as public align with the exhibitions, presentations, and community members to collaborate with the and patrons of local arts productions and local tours, talks with the artist, curator, producer, performances of the organizations. often these board and staff to recommend works to purchase businesses. Money raised can then be funneled musician or artist, and free art workshops.47 arts organization departments or teams work or commission and provide funds or fundraise to back into the socio-economic development of real Art Ways (rAW) in Hartford, Connecticut in isolation and do not collaborate on creating increase the collection.45 that community. Collaborations such as these offers Film Fieldtrips that address cultural and dynamic programming. even if an organization are successful when there is a true reciprocal civic learning through film and discussion for does not have arts education staff, it should Permanent collections impact programming; this relationship and all parties are benefiting without different age groups. Community MusicWorks submit a grant to contract arts educators to is especially true in times of economic challenges exploiting a community and its cultural production. provides free after-school music education and create complementary programs or materials when institutions seek to curtail expenditures. the intent is to empower the original residents performance programs that build meaningful to increase their audience and broaden their therefore, artists need institutions to collect their and future generations within these communities, long-term relationships between professional reach by providing classes or workshops and artwork and institutions should have budgets for never to displace or replace them as too many of musicians, children, and families in urban distributing materials. this purpose or a means to subsidize purchases. our communities have suffered. neighborhoods of Providence, rhode island. Arts organizations should identify resources to For the production of the play, “the House on today more and more Latinos have achieved support these new artistic endeavors. in addition, Activism and Community Engagement Mango street,” Chicago’s steppenwolf theatre celebrity status, fame and wealth in various they can develop internal mechanisms or formal Historically, the works of many Latino artists are organized a youth council, which assisted in the sectors of the entertainment industry. they are programs to develop new curatorial talents and influenced by current events and challenges creation of a youth event that included youth a potential pool of allies to tap into for support of theater producers. increased opportunities to affecting their society and the world. the spoken word poets and an informal dialogue with Latino arts and culture. Latino arts organizations present new talent in performances and exhibits emerging Latino arts organizations and artists of the youth, actors, director and playwright. should use their networks and make efforts to will follow. but artists too should consider the 1960s and 70s tended to gravitate to socio- connect with Latino celebrities in order to donating works to different permanent collections economic or political issues or causes based on Our Allies secure new allies: encouraging them to invest or performance arts organizations in an effort to the needs and interests of their community. today, Who are the potential allies and partners for Latino and collect artwork, sponsor productions in broaden his or her exposure and audience. many Latino arts organizations continue to follow arts organizations? Parents, children, youth, elders, a mission focused on community engagement art therapists48, arts educators, librarians, political

46 For a more complete working definition, see Amalia Deloney, “Cultural organizing Working Definition and Framework,” Arts & Democracy (http://artsanddemocracy.org/ detail-page/?program=organizing&capiD=122). 47 For more information about increasing audience or visitor participation, see the Participatory Museum, a resource guide by nina simon about cultural institutions increasing community and visitor engagement (http://www.participatorymuseum.org/). 48 Artesana is a web resource for victims of sexual 45 the studio Museum in Harlem operates an Acquisitions Committee. assault that is based in Austin, texas.

20 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 21 leaders, elected officials, economic and housing leadership about the important role of the arts in representing and hiring Latinos?57 Across the partnerships and collaborations for curatorial and development officials and organizations, tourism and its impact on communities. the mainstream nation, there are cases of traditional, european programmatic strategies. partners, and people with disabilities or differently- institutions that rely heavily on public dollars can or white American based arts organizations that abled.49 through joint efforts in programming, then be held accountable to represent and serve are struggling for survival in terms of resources Additionally, certain Latino ethnic populations, st fundraising, and advocacy, Latino arts organization the entire public, especially since the inequitable and audience. investment priorities should particularly Central and south American groups, and allies with community interest at heart can distribution of funding, institutional marginalization change to reflect the changes in the American have grown in the last two decades, yet they have A LY t both gain new audiences. of Latino artists and Latino arts, and lack of demographic and artistic landscape. As a simple not received sufficient support to create artistic culturally relevant arts education continue to business argument, arts organizations should and cultural programming. it is important to Contents 53 F

A CA the arts have a significant impact on local and cripple the arts as demographics shift. consider creating programming that reflects other address the need to facilitate potential artistic firsts s national economies. As just one example, nonprofit cultures, and when, possible make promotional like an exhibition, play, or musical performance e o A theaters contributed $1.9 billion to the national by holding businesses and politicians accountable information available in several languages. Latino focused solely on contemporary works of Central b L rt 50

A economy in 2010. this economic impact of the in their support for diversity we can broaden arts organizations and artists must work towards or south Americans in the U.s. More established tA arts is not effectively communicated to a broader opportunities for young art professionals and increasing Latino representation on the boards, Latino artists, who are perhaps Mexican, Puerto audience, voters and leaders who have the power revenue streams for art organizations. Possible in collections, and among the curatorial and rican, or Cuban, should act as allies and partners to reach out to elected officials. Arts advocates examples include fellowship or internship programs administrative staff of mainstream organizations. with other Latino groups who want to produce argue that the public should understand art and in reputable arts organizations or corporate giving our allies must apply equal pressure on their own shows, curate their own exhibitions and culture as a “public good” because of the larger grants or sponsorship funds for arts organizations. mainstream organizations to diversify every create their own scholarship. impact beyond a personal experience – such aspect of their staff and programming. At the as increased neighborhood pride and vibrancy. the arts benefit business too. t hey often serve same time, Latino arts should be showcased and Potential Collaborations Attaching buzzwords like “creativity,” “empowerment” as a vehicle to stimulate vibrancy and rebirth for represented at both cultural or ethnic specific arts Community partnerships offer artists and art and “quality of life” are essential and powerful when communities. Planned by various Latino arts organization and mainstream arts organizations organizations the opportunity to engage audiences describing the impact of the arts.51 organizations and leaders, a Latino arts showcase and not be relegated to one over the other. the around social causes and issues. socially in Arizona took place at a difficult time.t he state bridge between the mainstream and smaller or responsive art collaborations have the capacity some of the most promising allies are youth. had recently adopted harsh immigration and right- cultural or ethnic specific organizations should to inspire, raise the visibility and awareness of engaging them to support the arts and advocate wing policies against undocumented immigrants cross both ways. budding artists of color initially a campaign towards positive change. Possible for arts education and youth programming to that negatively impacted Latino families.54 through shown at ethnically specific museums and arts collaborative projects include: share the arts’ positive impact on their lives. they the showcase, organizers and business community organizations, then at mainstream institutions, can tell their own stories through their works, use leaders hoped to demonstrate the artistic and should continue to show their work where n Youth programs through art activism that their own voices or engage in new, digital media historic contributions of Latinos in the local arts they began, lifting up the status of their own take on ecological concerns or family like Youth radio or Media Arts Center san Diego, and tourism, key factors in the state’s economy.55 organizations/institutions. mental illness, partnerships between dance which serve large Latino populations.52 companies and organizations helping Latino Representation Vital to National Arts Certainly, more Latino arts exhibitions and individuals with disabilities or special needs; Seeking Allies in Public, Civic, and Economy performances are needed in cities and towns Business Leadership the essay Demographic transformation and the across the country. Yet due to the lack of n Youth partnerships with social service the sustainability of Latino arts programs requires Future of Museums discusses the changing U.s. resources, it is strategically difficult to accomplish organizations to produce videos that discuss advocacy the support of political and community demographic, the increased Latino population, this without a network of allied partners in other sexual harassment or proper nutrition.58 leaders. Demanding public institutions and and the lack of adequate Latino representation in geographical areas. With an enhanced network, Health awareness campaigns or fundraising civic leaders to address discrimination against museums.56 From a practical argument, is not the Latino visual arts, music, dance, theater, and more events for schools or educational programs ethnic and cultural arts organizations in the U.s. survival of certain museums, theater, music and can benefit from interregional and across state can easily be joined with arts programming.59 is as crucial as educating political and business dance companies threatened if they do not invest 57 Ford bell, President of the American Association of Museums, states: “the big challenge is going to be how museums deal with the increasingly diverse American public,which could be 30% or more Hispanic by 2050. if you go to a museum, and don’t see anybody else who looks like you, from visitors to staff, and the boards are not reflecting the com- 49 Project onward is a studio and gallery located in the Chicago Cultural Center that nurtures the creative growth of artists with mental and developmental disabilities. For its munity, you may be less likely to come back, or even to go in the first place.” Martha Lufkin, “America is Changing – but Are its Arts Museums?” the Art newspaper, (issue 204, twenty-Fifth Día de Muertos (Day of the Dead) exhibition in 2011, the national Museum of Mexican Art invited a Project onward artist and local resident, Fernando ramirez to cre- July/August 2009) (http://www.theartnewspaper.com/articles/America-is-changingbut-are-its-art-museums/18563). 58 As one example, new York’s national Dance institute has ate an installation (http://www.projectonward.org/). 50 According to the annual survey by theatre Communications Group, see John Moore, “Good theater is good for the econo- had special partnerships with Lighthouse international, an organization for people who have visual impairments, through its Comprehensive Music Program for Young People and my, to the tune of $1.9 billion,” Denver Post, november 20, 2011. 51 id. the steel Yard in Providence, ri has two programs that assist with local economic development. the Public the American sign Language and english Lower school/P.s. 347. 59 some Latino artists and organizations have infused health concerns and issues to their work. nYC-based Projects program hires local artists to design and fabricate amenities using raw materials and services from local companies instead of mass made products elsewhere. the Weld Puerto rican artist tanya torres created an edition of books entitled “Cuerpo de batalla/ battle body” featuring her art and poems to chronicle her personal battle with cancer and to Work program introduces low-income young adults to the industrial arts, which provides them an opportunity to learn skills applicable to a high-demand job with livable wages. her experience undergoing a stem cell transplant. tanya volunteers at various hospitals assisting patients to create their own healing arts books. Música Against Drugs, a former 52 Adobe Youth Voices, a program of the Adobe Foundation. 53 http://www.hiponline.org/resources/. 54 emily Gersema, “Latino arts showcase aimed at boosting pride, aware- music organization in brooklyn had as its slogan - La cultura también cura (Culture also cures). the slogan highlighted how music in particular can be utilized for AiDs awareness ness”, the Arizona republic (March, 29, 2011). 55 id. 56 betty Farrell, Ph.D and Maria Medvedeva, Cultural Policy Center, norC and the Harris school of Public Policy at the campaigns and to reduce the impact of drugs on the community. their popular program, the “Clean and sober” dances, provided a safe space for individuals in recovery to party University of Chicago, Demographic transformation and the Future of Museums, the AAM Press, American Association of Museums (2010). without the threat of drugs and alcohol found in bars and clubs.

22 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 23 n A theatrical company can stage a play about can increase accessibility.60 Furthermore, Latino artists to pursue their professional development Latino artists across the U.s. are organized locally the effects of a deportation on a Latino family arts organizations should make greater strides to education or to attend business, social media or and informally. they may or may not consist of and use it as an opportunity to invite Latino make their buildings handicapped accessible with website creation workshops. in addition, artists museum professionals, theater managers, art youth from an after-school program to see a ramps, automatic doors, theater seating, restrooms would benefit tremendously from opportunities to professors, etc. is there a need to create a professional theatrical production. and more. Funding for these endeavors does showcase their work in corporate or bank gallery more inclusive Latino arts network? Absolutely. present a challenge for any nonprofit organization. space or tours of their studios. the potential benefits are extraordinary. by rtists the following collaborations illustrate real Yet, it is important that these needs are placed including more diverse artists and professionals ways of making this work. the issuance of a higher on the list of their priorities. Latino artists can benefit tremendously from basic across practices, the opportunity to learn, share, Contents

F postage stamp in honor of ruben salazar, the management skills such as tax filing, knowledge and access resources grows and the support journalist slain during the 1970 national Chicano about copyright and trademark laws, website use, network expands. e o Moratorium March against the Vietnam War in marketing, long term financial planning, estate b L

G A UPPortin east Los Angeles, was assisted in part, by the supporting Artists planning and how to file for loan, grant, and Art organizations can encourage and support tA s production of a short documentary on his life, fellowship applications.61 these organizations’ artist networks for increased interaction and which increased awareness about his life’s and Artist Communities professional, technical, and business expertise communication among artists, either in person work. the new Mexico Housing Authority, can provide the tools Latino artist need to be self- or by using sites such as Meet Up, Cover it in collaboration with Working Classroom, independent artists should be able to rely on sufficient. Practices and examples of innovation Live, tumblr, twitter, artzines, etc.62 other a grassroots arts organization, produced a the support of art councils and organizations and entrepreneurship can assist and inspire opportunities include taking advantage of free bilingual/bicultural comic book to educate the for professional development assistance and artists in their professions. Latino artists should to low cost online tools such as Google+ and Latino community about predatory loans. promotion of their work. in some cities, arts and capitalize on new, emerging forms of social media skype for conference call meetings and online, business councils, professional arts organizations, like Facebook, Youtube, and twitter to promote instantaneous presentations with other parties. Arts organizations and community or other and artist guilds provide resources and services, yet their work to new audiences and increase their the Martignano international residency for Artists nonprofit organizations can also request funding many Latinos do not know to turn to these entities financial support. – MirA - connects experienced artists of various jointly for various program ideas such as producing for assistance. Access to resources about career countries and backgrounds in an international a play based on the narratives of domestic advancement, small business management, and slowly, art schools have begun to educate residency exchange. Creating an international violence victims, art therapy workshops for cancer educational opportunities should be advertized students on professional practices. Yet, many exchange among Latino artists and artists from patients at hospitals and clinics, or youth programs and disseminated and made readily available to artists continue to struggle because they lack across Latin America will lead to collaborations to encourage bilingual literacy and bicultural artists in the Latino community. basic professional skills such as submitting a and unique partnerships and provide for greater production for improved academic achievement. well-written artist statement or representative exposure for all participants. bilingual resource guides for artists in the Latino portfolio that can assist them in their career. Inclusion of Differently-Abled People community are needed. ideally, these guides often curators cannot find biographical and on another level, arts organizations can create Positive social change also consists of influencing should be available online and free. Who or what contact information about an artist. Latino arts networking events for the artists or performances the ways Latino arts organizations operate to organizations will make this possible? the best organizations can provide an invaluable service or workshops where artists can engage their be more inclusive and accessible for people practice may be that arts and business councils, by hosting classes and workshops that allow audiences and seek out their participation. with disabilities. enhancing accessibility to the professional arts organizations, and artist guilds artists to garner vital skills such as the creation Hosting free jam sessions for the community is physically disabled, creating specific as well as should work with the Latino community through of a portfolio, trademark and copyright laws, a fantastic way for musicians or poets to gain more inclusive programming and events, and its artists and arts organizations to provide for grant writing, marketing and brand development, exposure and allows them to try new and creative producing teaching curriculum are all ways by specific, locally based guides. website development, the curatorial process, ideas. Providing artists with commissions, working which arts organizations can increase their reach. client cultivation and service. stipends, or grants also helps artists explore new Art instruction for deaf and hearing impaired For artists to be successful, their artistic and ideas, create, and then showcase them. children, open houses and exhibition tours for cultural production must respond to the demands Creating a Viable Network of Latino Artists individuals with autism and tourette’s syndrome, of a new and changing economy and society. and Art Professionals networking among artists and art professionals providing appropriate reading materials through Arts and business councils, professional arts What has become increasingly evident is that is essential for the creation of artist communities. brochures or special smart phone or smart tablet organizations, and artist guilds should actively there is a need to fill in the void and create Latino Vibrant communities can support each other apps are all examples of how arts organizations seek ways to provide financial support for arts professional networks. Most networks of and collaborate based on common interests

61 other skills or information needed by artists include: how to purchase a house or studio, do archive creation, acquire and use networking skills and prepare an artist statement, 60 Very special Arts assists arts organizations to transform their spaces. CV or resume, and bio. 62 As the brooklyn Museum has done.

24 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 25 and needs. Arts organizations should consider can turn to with questions and for advice. online Harlem and the national Museum of Mexican As a way to gain a greater understanding of the hosting networking opportunities for artists discussion boards or blogging about questions, Art host formal artist-in-residence or internship grant application process, independent artists and art professionals to dialogue and find suggestions, new opportunities or developments programs, which have helped to catapult the should participate on grant review panels. it is mentors. the bringing together of artists also can complement resource guides that arts careers of many artists of color.67 also an excellent opportunity to network and in formal settings such as presentations on organizations and others create and maintain. learn about the work of other artists and arts topics of art, technology, or business and Arts organizations have the greatest capacity administrators. rtists professional development can attract artists of Professional Development Networks and to assist artists and bring their artwork to different generations. Coffee hours with artists Resources the forefront because many understand their Building Artist Spaces and Communities Contents

F or lectures hosted by curators and producers Latino arts organizations should continue to professional needs and have networks by which Many artists want the opportunity to exchange also may provide an informal opportunity to encourage and lead the production of professional exchange and mentorship can thrive. they help ideas and bounce feedback with fellow artists and e o encourage exchange among artists.63 development presentations, in-person or online as limit the barriers of entry for many artists who arts organizations. in essence, an open studio b L

G A UPPortin webinars, available for a reasonable, discounted fee seek greater opportunities to showcase their will assist them in developing their art through tA s Mentorship or free. in order to advance scholarly discourse on work. sometimes artists get lost in the education constructive criticism in a friendly, safe space Formal and informal mentorships are Latino arts and culture, they should instruct artists departments of institutions and their art practice that many artists may not have had since school. important for any profession, and artists and on how to maintain archives of their careers such and careers lie dormant. through its Master Moreover, these artist gatherings permit the natural art professionals can benefit from increased as papers, sketches, promotional materials of their Artist grant, the national Association of Latino development of mutually beneficial art projects guidance and access to information provided work (posters, postcards, fliers, etc.). Artists must Arts and Culture (nALAC) provides mentor and and engagements. Latino arts organizations can by the mentoring relationship. Latino arts be proactive in forming collectives, discussions, mentee stipends.68 More established artists and assist with the coordination of an open studio by organizations should play a role in encouraging and networks to assist each other with common identified mentees apply jointly for the stipends providing the space, inviting special guests who and forming mentorship programs and interests and needs. and both benefit professionally. the steel Yard in are established and reputable artists to discuss opportunities within their community. the Providence offers subsidized courses in jewelry, their work and critique others, and inviting their sustainability of these organizations is dependent independent Latino artists should always approach welding, blacksmithing, ceramics, and glass senior curatorial or programming staff to attend. on an active, vibrant, and growing Latino arts their local arts councils for assistance. these casting. Artists have access to affordable studio community. since artists founded many existing councils can provide them with information, space, the metal shop, teaching opportunities, several foundations like Ford and Kresge have Latino arts organizations, these leaders have a resources, and opportunities that will support contract work through public art projects and a allocated resources to the creation of artist responsibility to pass on knowledge and skills their artistic productions. Many artists seek ways private project’s workbook at no cost. spaces for studio art and performance. some of that otherwise may not be readily available to the to supplement their incomes, and a professional these spaces are live-in and others are not. When next generation. For example, how can a Latino training program is an excellent way by which arts online resources and new media can also be possible, Latino arts organizations should seize the artist or art professional present their work or organizations can assist artists. the bronx Council useful. Leveraging online resources and new opportunity to apply for these grants or assist artists lecture at art clubs, universities and schools? An on the Arts has an art-handler training program media outlets can benefit these communities. to submit a request and/or participate in these experienced mentor can provide that know-how, that may lead to employment opportunities Minneapolis’ Walker Arts Center leads the way funding opportunities. established organizations who to request these opportunities from, how to in galleries, museums, archives, and auction in providing a dedicated online networking space can provide financial stability, infrastructural, and network, and most importantly, how to eloquently houses.64 third World news reel offers a six- for local artists to connect both with the museum resource development expertise for the creation discuss and engage an audience about their month documentary training program that covers and with other artists through its Walker blogs.69 and management of new artist spaces.70 work. Mentors can educate their mentee artists pre-production, production, and post-production.65 Hive Archive offers What it takes: Your indie and art professionals to identify the players in the this program serves as a jumping board for business buzz - informal monthly meetings for Arts organizations should consider the possibility arts community, demystify the funding world, and many in the documentary world and some return people who wish to develop their creative work of joining forces with other arts or community can also provide contact information. Moreover, as instructors to teach master classes. Arena into a sustainable living. establishing an email organizations that may also benefit from mentors can educate mentees about other career stage in Washington D.C., dedicated to American list-serve to promote programs, activities, events, new spaces. through partnerships, multiple options within the arts such as philanthropy, art theater, has a student playwrights project which exhibits and performances is a useful way for organizations can fundraise, manage, and use therapy, or arts education. employs teaching artists to work with middle and arts organizations to encourage networking and the new spaces for both artistic and other high school teachers to encourage the growth promote the arts. community needs. new art and cultural spaces on a practical level, a mentorship program can of “new voices” among students.66 other arts be as simple as listing willing mentors that artists organizations such as the studio Museum in

67 sadly, el Museo del barrio’s previous artist-in-residence program has not been renewed. A former participant, Pepon osorio, later received a John D. and Catherine t. MacArthur Foundation fellowship. 68 http://nalac.org/index.php?option=com_content&task=view&id=382&itemid=412. 69 http://blogs.walkerart.org/. 70 this is a tall order for Latino arts 63 these suggestions also may apply to and benefit artists and help engage new audiences. 64 http://www.bronxarts.org/. 65 http://www.twn.org/. 66 http://www.arenastage. organizations, which are often challenged or encumbered by the management of their own programs and institutional needs. the creation of artist spaces often requires a capital org/education/education-programs/student-playwrights-project/. campaign and then operating dollars and reserves to keep the spaces running long-term.

26 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 27 for the benefit of artists, arts organizations, and growing expansion of nonprofit arts organizations funders and consultants for many years, does advisory councils to provide suggestions and the community have the potential to develop into when economic resources have diminished and affect and generate some alarm about the survival assistance to the board of Directors. these vibrantly accessible spaces.71 As shown in multiple audiences have shrunk. it would behoove any and success of several Latino arts organizations councils provide a platform for leadership cultivation

ent examples, dynamic art and cultural spaces can responsible art director or administrator to keep across the country. it may lead to extreme stress to pursue the organization’s mission and goals. enhance socio-economic growth. in some areas, this in mind. Latinos eager to build new arts about how an organization can identify and then Young Latino professionals are eager to become e M art and cultural spaces have led to community- organizations or start art programs, particularly train the next generation of leaders especially if involved in their community in ways that enrich AG

n driven tourism development. thus, another strong in Latino arts “deserts,” must be cognizant of the opportunities for growth and fresh perspectives their lives. they seek meaningful engagement that argument for investment in artist spaces and other numerous challenges. the demand for Latino are denied or limited. will inspire them to serve and in turn, encourage Contents

F related programs is its potential economic impact arts can and should be cultivated and diversified their peers to donate their time and/or money to on communities. throughout the U.s., despite the challenges to tied to the issue of leadership is the flatness that the organization. Council members can support in G MA e o create, sustain, and grow Latino arts organizations. many nonprofits have with regards to personnel and advocate for mechanisms to help bolster b L building Latino arts communities, assisting Latino organization. Many nonprofits have “charismatic fundraising and programming efforts. through tA

MP ro V artists, and expanding community audiences can Latino arts leaders must be able to demonstrate founders” that often neglect the management of this process, some may become future members i help end the stagnation in certain areas of the that Latino arts - exhibitions, presentations, their organization and the creation and practical of the board of Directors where they can further country or to stir the development of the art scene performances, education classes and programs, application of an organizational chart.73 Funders advocate for their interests and ideas. in other regions. art therapy sessions, and workshops make a social are challenging nonprofits they support to impact worthy and necessary of public and private effectively strengthen their human resources and Arts organizations, like any corporation, business investment. the expected return on investment management skills in order to help secure their or nonprofit entity, cannot remain static. if they is an exciting, healthier, and more informed and sustainability. Latino arts organizations leaders do not evolve, they will not flourish or survive. by creative society. and directors must learn effective management inviting younger generations to participate in the skills and mentor employees to have the same in decision-making process, an arts organization can improving and Latino arts organizations should focus on several order to prevent a vicious cycle of ineffective or identify and adopt new ideas, projects, and modes areas for increased development so they may poor management.74 of communication, and diversify audiences, Developing sustain and expand. Capacity building strengthens which will assist it to adapt to the ever-changing the infrastructure of an arts organization and builds What can be done internally and externally to demands of the public. in short, staying in tune organizational its resistance to the downward spiraling effects of emphasize the need for a change in leadership or with younger generations’ interests will promote a weak economy and changes to the needs and a transition plan? Latino arts leaders must be made the growth of Latino arts organizations which will Management demands of the communities it serves. Focusing aware of the underlying dangers of not planning be better equipped to stay on the cusp of Latino on organizational development is particularly for a change in leadership in their organizations. arts as it continues to expand in all directions. When “[a]sked about the significance of the beneficial in communities where new Latino one way to do so is educate colleagues about declining attendance figures for the arts in this arts organizations are needed and new Latino the failures of some organizations that did not the boards of Latino arts organizations must be country, rocco Landesman, the Chairman for communities have formed. Most importantly, adapt new strategies and prepare for leadership diverse in every aspect. traditionally, their first or the national endowment of the Arts gave a however, stronger Latino arts organizations will be transitions. Leaders must provide a platform and/ founding boards are comprised of members of the characteristically unequivocal response: able to withstand economic downturns. they can or opportunities for younger staff to engage, offer community who may be artists, arts professionals, articulate their mission, align programming to it, ideas, and take leadership roles on particular educators and at times, local business leaders. You can either increase demand or and demonstrate impact as new challenges and initiatives. For example, if there is a new exhibition, For the launching of an organization, it is decrease supply. Demand is not going developments arise. fundraising initiative, or theatrical performance to important, without question to have commitment to increase. so it is time to think about manage, a more junior member of the staff should of passionate board members. nevertheless, as decreasing supply.72 Leadership be allowed to lead it. Conversely, younger staff the arts organization grows, so should its board to Latino arts and the arts world in general, suffer at arts organizations should actively seek ways support its further development by identifying new His comment may have been directed primarily a common dilemma – founders and executive to gain the attention of upper management by connections and sources for funding, innovation, to theaters, and it definitely ruffled feathers and directors who do not share leadership with or pass introducing new ideas. and collaboration. generated buzz. nonetheless, it does require us to it on to the next generation. Founder’s syndrome reflect on something that cannot be ignored - the and succession planning, which have interested Latino arts organizations should create young A synergistic Latino arts organization will actively

71 Villa Victoria Center for the Arts in boston is a program of inquilinos boricuas en Acción, a non-profit organization dedicated to increasing the social and economic power of the community through education, economic development, technology, and arts programming. (http://www.villavictoriaarts.org/). 72 Peter Marks, “neA Chairman provokes heated debate: How much art is too much?” the Washington Post (February 11, 2011). 73 stephanie strom, “Philanthropists start requiring Management Courses to Keep nonprofits Productive,” the new York times (July 29, 2011). 74 id.

28 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 29 recruit individuals to serve on the board who nonprofit organizations and the arts are no Internships can bring multiple resources and who can act exception. Yet, many Latino arts organizations overwhelmingly, young Latino arts professionals individual giving must become a top priority for all as spokespersons. it is imperative, however, neglect or fail to dedicate the time and do rely on internship opportunities to solidify their Latino nonprofits because it allows for community

ent that board members help fundraise and provide not have volunteer recruiting or coordinating interests and hone their skill set. Latino arts empowerment and autonomy by lessening a personal donation. Funders increasingly ask personnel. Volunteers may become future board organizations should provide internship positions dependency on both private and government e M whether board members provide monetary members or donors or may have connections or establish a formal internship programs (paid/ funding sources. therefore, to tap into individual AG

n donations to the organization on the premise that to possible funding resources or collaborative unpaid) to assist the development of the next donors and expand the donor base, Latino arts an organization cannot successfully raise funds partners. organizations should dedicate time to generation. organizations should adopt fundraising best Contents

F when its power structure does not also give. establish a pool of volunteers who can benefit practices such as clear messaging, donor tracking, Yet, Latino community representation on the them in multiple ways; this can be accomplished University interns are valuable assets and donor base development and diversification. in G MA e o boards of Latino arts organization should not be through networking or recruitment events that organizations can cultivate them as its next b L dismissed simply because community members target professionals, high school and college generation of talented leaders. Also many cities Latino arts organizations, like many nonprofit tA

MP ro V may not be able to make monetary contributions. students, and senior citizen community residents and municipalities coordinate summer youth and community organizations serving Latinos, i residents of the community where these arts for example. employment programs that provide eye-opening, face the enormous challenge of encouraging organizations are located should be included on professional opportunities as well as support a culture of philanthropy among Latinos. their boards as well. it is important that organizations train their for nonprofit organizations. Arts organizations Generally, philanthropy in Latin America is volunteers to properly perform the expected tasks should consider tapping into this human limited to family and church. this is in part due Mentorship and provide them with the messaging that they resource and invest in the next generation’s to the extreme lack of distribution of resources Latino arts organizations should provide should use in explaining the organization’s mission, development. the impact of internship programs and the concentration of wealth among a select mentorship opportunities. their boards and vision, and programs. the attitude “any little task has been incredible, with many interns learning few.77 Despite this historically limited practice staffs can benefit tremendously from learning will do” does not hold for all volunteers who wish about different aspects of the museum world. of philanthropy, Latinos in the U.s. are often exchanges through which questions, advice, and to make a significant impact. some individuals For example, el Museo del barrio and the exposed to the benefits of philanthropy without ideas are shared with specialized consultants want opportunities to apply their technical or national Museum of Mexican Art have internship knowing its role in their communities. or other art and non-arts organizations with professional skills. Latino arts organizations should programs; several of their full-time employees long track records. non-arts organizations can identify and jumpstart special projects capitalizing are former interns. Latino arts organizations should develop their also be helpful mentors to Latino organizations. on their volunteers’ skills with regards to own donor bases within their communities by nevertheless, time and resources are often fundraising, administrative, accounting, marketing, Growing the Individual Donor Base approaching local businesses and community obstacles for organizations that wish to take it, etc. For example, volunteers could be enlisted individual donors are an absolutely necessary members. Performances, receptions, classes, advantage of mentorship opportunities. Many to assist using new media or tackling it issues, or source of nonprofit revenue especially those and workshops can provide organizations the Latino arts organizations have smaller staff sizes making personal calls, or drafting letters to donors serving the arts. For many mainstream arts opportunity to promote their organization and that cannot dedicate the time or resources expressing appreciation. organizations, individual dollars have always begin to engage donors. Another helpful way to other projects or needs. Funders should comprised a crucial percentage of the revenue to stimulate giving is by providing potential be cognizant of this reality, and many are, by Handling volunteers does present another host of breakdown. the percentage of individual giving is donors examples of how even small gifts make providing grants, which enable and nurture challenges. Who will recruit and supervise them? often very low at Latino arts organizations, which an impact since person to person assistance mentorships. Within an arts organization, Who will train them? in larger nonprofits or arts is troubling given that government, foundation, is the most common giving pattern among there may be natural mentorship or beneficial organizations, volunteer coordinators are important and corporate grants have dwindled for the arts. Latinos.78 For example, Latinos are often relationship opportunities by tapping into assets and are usually full-time staff members. equally as troubling is that data reveals that only donors as many send millions of dollars in the networks of their boards and young Latino arts organizations should look to other 1% of foundation funding is “designated to benefit remittances back to families in their home advisory councils. Coordinating social events organizations as models for volunteer coordinators Latinos”; a figure that has remained steady over countries. Providing incentives to give through or organizing special projects can ease the and strategies for working with volunteers.75 the past decade while the Latino population has raffles, silent auctions that include artwork by creation of these connections. identifying a volunteer to serve as the volunteer expanded greatly.76 this 1% allotment is for children and youth, or membership packages coordinator is one possible solution. Another all types of programs and services to Latinos can also encourage giving among parents and Volunteers possibility is to recruit a board Member or a Young including arts and culture. community residents. Volunteers are a fantastic resource for all Advisory Council Member to take on this task.

76 “Foundation Funding for Hispanics/Latinos in the United states and for Latin America”, the Foundation Center in collaboration with Hispanics in Philanthropy (2011) (http://foun- 75 boys and Girls Club is an example of a nonprofit organization that has a strategic approach for working with volunteers. Another resource is the annual national Conference dationcenter.org/gainknowledge/research/pdf/fc_hip2011.pdf). 77 only recently has Latin America witnessed the development of corporate sponsorships, private and corporate on Volunteering and service; the conference hosts workshops and sessions on various matters of volunteerism. foundations, and volunteerism. 78 Katherine swank, “emergent Philanthropists: America’s evolving ethnic Donor Groups”, Fundraising success (May 25, 2010).

30 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 31 the organization’s development staff should people should be the main fundraisers for arts attendee, and support the allocation of public every purchase helps sustain artistic expression determine the interests of each potential donor organizations. but they should be educated money for the arts and art education, purchase and exhibition. the donation of art allows and how to apply that information for the benefit about its importance and how they can and and donate artwork.80 Latino arts organizations to become the primary

ent of the organization. For example, the individual should invest in their community and art. in depositories to preserve and showcase Latino may come from a family of educators and could other words, arts organizations can instill values Artists, art educators, and art professionals arts, which increases their prestige and ability to e M become a great donor to arts education, or s/ about giving and the arts. Youth may assist or naturally gravitate towards participation in arts attract and serve a larger audience. Creating a AG

n he may wish to honor a deceased loved one and become part of the fundraising process and as organizations. to survive in the ever-changing arts sizeable collection is especially important for art may hope for a naming opportunity. in turn, once a result, they will appreciate the significance of world, Latino arts organizations should actively institutions when economic times are tough. the Contents

F their personal interest is sparked, the potential to philanthropy and the connection it has to the arts reach out to Latinos with no affiliation to the arts rising costs of renting exhibitions, insurance, and make them donors is increased too. Latino artists programming they participate in and enjoy.79 but who may be potential donors, volunteers, or shipping are heavy expenditures to finance for in G MA e o too should be encouraged to donate works of board members.81 board and staff members already financially strapped institutions. During b L their art or their time to work on a specific Youth can be further challenged to come up with must network to identify new blood for the the most recent recession, many museums turned tA

MP ro V creative project or educational program. the creative fundraising ideas that align with their organization to accomplish this goal. they must to their collections to curate new exhibitions i parents of children who participate in educational artistic interests. Youth participants who have attend conferences, summits, benefits, forums, because the public’s primary concern is about programming should be considered as potential established themselves as leaders and models community engagements, lectures and more, “presentation” and “content”.82 the availability of a donors as well as the youth. among their peers can be given the opportunity and talk to new people. Latino arts organizations collection provides strong options for museums to to serve as spokespersons for the organization should organize special events to attract new continue to support their mission. Moreover, organizations should encourage and program. Youth advisory committees can audiences such as curator-led exhibition tours, donors to give bequests of artwork or money help reinforce the team-based principles and coffee talks with artists and performers, special Brand Development and Marketing from their retirement plans and to provide serve as agents of change in their organization performances, and cocktail parties. they should not-for-profit organizations like for-profit companies them with long-term or annual giving options. and community. Additionally, as they graduate seek out leaders of professional associations and should enthusiastically embrace the development organizations should provide many opportunities or move on from programs into college and guilds to collaborate on these special projects. of a visible brand for marketing purposes. they for engagement too – whether through curator careers, organizations should do their best to if necessary, arts organizations should invest in must create an authentic brand identity and own talks, special performances or attending a maintain a database that includes the names, networking workshops for their board and staff it. Developing a brand is a powerful marketing student workshop. When potential donors are contact information, and professional affiliation members to improve their skills and identify and promotional tool that many arts organizations engaged or involved with the organization, the of students and interns who have participated in exciting, networking initiatives. across the country have yet to use. Latino arts likelihood to give will increase. Making donations their programs. in turn, the former students and organizations cannot be left behind. Consultants should be made as easy as possible and include interns can be invited to form part of an alumni to effectively create, maintain, and expand an and volunteer-based organizations like taproot various options – online, check, credit card and group of potential donors, board members, and individual donor base, accurate and useful data Foundation assist with branding development for PayPal. even return as full time staff for the organizations. records organized by an advanced database not-for-profits. A well-developed brand can assist system are absolutely necessary. this database is an organization, or even an artist, to establish Cultivating Young Donors At every level, Latino arts organizations can sow a valuable tool for communication and marketing an identity. the brand becomes part of a larger Young donors should be identified and engaged the seeds of introducing the emergent Latino needs. Arts organizations should seriously consider marketing effort that includes the organization’s early. this is especially important when arts middle class and professionals to the value of art such an investment to assist in the diversification website, social media platforms, business cards, organizations provide youth programs and arts and supporting it. introducing youth to artists in of its funding base and to effectively develop stationary, logo, tagline and more. A good brand education. Many people are embarrassed the community who make their living through the individual giving strategies. will be professional, eye-catching, and memorable. or feel uncomfortable asking for donations. sale of their work and to curators and registrars it also can assist the organization to gain allies However, if a young person is educated early who take care of institutional collections are Collection and Donation of Artwork and create the appropriate messages to convince about the importance of sustainability of the some of the ways to engage young people. Along Philanthropy in the arts also encompasses the them to assist in various ways. organization that they care about which includes with all donors, youth should be encouraged collection and donation of artwork. Granted this the organization’s need for a development to personally collect art and to assist with the may be limited to those with higher disposable Latinos must unapologetically own the brand and strategy and future growth, then the anxiety or acquisition of artwork for museums. then they will incomes, but artwork is priced at all levels and public identity of the organizations they create unease associated with asking for money may be more likely to provide funding to commission be lessened. this does not mean that young a play or concert, become a member, visitor or

80 the Hood Museum in Dartmouth College has a Youth Acquisitions Committee. Committee members are exposed to lessons and ideas on how to collect artwork, how to eval- uate it, how to understand the market place for art and how to conduct studio visits and meet artists. these members also make suggestions to the Museum’s Acquisitions board. 79 Youth that participate in workshops at Working Classroom, the Albuquerque-based arts organization for youth, are encouraged to drop their extra pennies in the coin jar. 81 Consider government officials, engineers, it specialists, attorneys, doctors, health professionals, marketing professionals, educators, scholars and academics. 82 robin Pogre- Although the donations may comprise a small percentage of Working Classroom’s fundraising, it instills in youth a sense of responsibility to support the arts. bin, “Money tight, Museums Mine their own Collections”, the new York times (April 12, 2011).

32 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 33 and represent. Certainly, it is understandable that n budget planning for short and long-term w How extensive are their community, explore different business and financing models. Latinos fear brand development as a tool as many goals should include efforts to mitigate risk multilingual outreach methods new models to finance projects include program- fear the brand image may be misconstrued as and increase capital and operational reserves and relationships? related investments (Pris) and donations through

ent stereotyping or other forms of generalization. Yet, while striving for a surplus. w is their prioritization to higher income social media and innovative earned income brand development can be done properly when it is communities, businesses, opportunities. in illinois, Michigan, Utah, Louisiana, e M led and approved by the organizational leadership. n the creation of an endowment should and corporations? north Carolina, Vermont, and other states, hybrid AG w n Care should be given by the organization to not be considered by the organization as an Are their appropriate marketing efforts business models such as low-profit liability overlook the mission statement when creating the empowerment method provided that the to target Latino communities?83 companies or L3Cs are recognized. L3Cs are a Contents

F brand and strive to be as inclusive and consistent endowment’s investment gains are greater legal business entity created to allow investments as possible. than fees incurred. n Latino arts organizations should work towards in socially beneficial, for-profit ventures.84 one in G MA e o greater financial independence from public or example of a hybrid model is Public Matters b L Business Best Practices n executive staff and boards must have skills government funding that will allow them to be an interdisciplinary social enterprise made up tA

MP ro V senior management and board members must in or appropriate assistance with tax and less restricted by political or policy constraints. of artists, media professionals, and educators i have the appropriate skill set to manage the investment financing. A persistent problem exists for many nonprofit in California. they work with communities to needs of an arts organization no matter what organizations that are too dependent on public design and implement integrated new media, size or type. With an appropriate and responsible n the mission or programming should not funding. typically, public funding comes with education, and civic engagement projects for business model, the organization can establish respond to funders’ changing focus areas. strings attached as to how it can be spent, social impact.85 a strategy which will positively impact its long- Consistency of the organization’s mission in what areas, and for what issues. to be term growth. Adopting an appropriate business and vision is fundamental and must heed innovative, arts organizations must have the Art for Change, an east Harlem arts organization model is crucial not only for an organization the needs and demands of the audiences it financial stability and freedom to present that provides arts as social change programming but for artist, arts educator, or art therapist as serves and hopes to attract. instead of trying controversial topics, issues, and programming for the community is another example of a different well. When adopting one, the organization or to adapt the mission or programming to meet when the occasion calls for it. arts organization. Volunteers run the organization art professional must keep in mind that one size a potential funder’s focus area, identify new through various committees, and management is does not fit all. An organization’s leadership must funders and donors that have similar interests n A balanced mix of dollars from various operated by a rotation of board members. they work together to build one that is best suited for to your organization. sectors and sources such as government, serve on different committees, lend their expertise its needs. foundation, corporate and individuals in specific areas or develop experience in others.86 n A Latino arts organization cannot carefully protects the organization from a troubled this model is just one type of grassroots and sound business practices will allow for the plan for its future growth without a economy or shortfall in one or multiple community-based approach available to Latino organization to achieve its short and long term commitment to evaluation of its performance, sources. Diversifying funding sources also arts organization. goals – particularly sustainability and growth: service, and gaps. Contract experts who frees the organization to establish and can help create effective evaluation tools curate programming of its own choosing. Latino arts organizations should adopt new n strategic plans should be developed to assist and train staff to use them and modify them promotional, marketing, and publishing trends the organization to develop its infrastructure as necessary. seek funding opportunities to All these ideas can form part of a strategic available through new media and the internet. and programming according to its needs and initiate and expand evaluation efforts. “business” plan for both arts organizations and this becomes increasingly important as all the demands of its audience. artists. Latino artists should also begin to adopt types of institutions adopt environmental-friendly n effective communications and marketing professional practices that allow them to thrive. policies and stay away from print publications. n the organization’s audiences must be defined strategies for artistic and arts education Fundraising practices also have evolved to ensure that its programs, products, and programs like plays, performances, exhibitions, Exploring Different Models and Practices dramatically with the arrival of new media tools services reflect the audience it hopes to attract. youth classes, adult workshops and internships Like Latino arts organizations that should adopt and computer software programs. Although must be created and followed. different structural models in response to the some of these practices may be expensive to n A plan to create and sustain a network of needs of the arts community, artists too should use, the investment in purchasing equipment and supporters and resources should be adopted n Questions to consider include: to help sustain and foster development for w How do organizations promote the organization and the artist. their programs? 83 read these museum examples: eugene scott, “Phoenix-area Museums reach out to Hispanic Visitors,” the Arizona republic (January 29, 2012) (http://www.azcentral.com/arizonarepublic/local/articles/2012/01/13/20120113phoenix-museums-hispanic-vistors.html); Felicia r. Lee, “An outpost for old spain in the Heights,” the new York times, (november 11, 2011) (http://www.nytimes.com/2011/11/13/arts/design/changes-at-the-hispanic-society-of-america.html?pagewanted=all) 84 For more information, see evangeline Gomez, “the rise of the Charitable For-Profite ntity,” Forbes (January 12, 2012). 85 http://publicmattersgroup.wordpress.com/. 86 http://www.artforchange.org/.

34 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 35 tools and hiring additional staff must be seriously Institutional Elitism and Perceptions Experts Surround Us considered. not taking advantage of new media Latino Arts and of Expertise As previously stated, mainstream arts organizations tools to fundraise or “friendraise” would hamper Given the elitism within academia and other continue to receive the bulk of arts funding any organization’s ability to be creative. the Cultural experts prestigious institutions, Latino experts may not and often obtain funding through specific grant internet is a fantastic resource to investigate new always be given adequate credit or recognition initiatives to diversify their audiences. When this XP erts e ideas and use them to help an organization to Many Latinos have reservations about the for their knowledge and experience. there is no happens, they have an ethical obligation to hire D develop. recently, the internet and social media role of experts with regards to their families, doubt that at some level scholarship is essential for or contract the services of Latino experts and n have led to micro-financing opportunities by which neighborhoods, communities and arts and culture. expertise but there are other factors to take into artists. the excuse that there are no “qualified” A Contents

F artists and small arts organizations receive small the concern arises from the negative ways that account when determining who is an authority. Latinos out there with requisite expertise cannot rts donations from many donors – a crowd-sourcing historically Latinos have been studied, discussed Arts organizations must embrace different be allowed to continue. Latino/a experts are out e o A vehicle for fundraising. Websites like Kickstarter, and portrayed by non-Latinos due to lack of understandings of what it means to be an expert there and can be found via various arts, university, b L indie Go Go, and Microfundo have allowed for intimate understanding and familiarity. Yet, experts that encompasses other mechanisms by which a and community networks. tA 87 tino the launch of many innovative art projects. play significant roles in arts organizations and person can be or become an expert.

LA organizations should consider Facebook, twitter, as arts professionals. Latino arts organizations Community experts should be included as part of and smart phone/tablet apps as vibrant ways to should retain experts in order to collect, share, and A controversial reality is the frequent reliance of the larger voice of Latino arts, culture and communicate with existing audiences and reach archive knowledge. Mainstream organizations also non-Latino experts on Latino arts and culture by community. they are wealthy repositories of history, out to new ones. should employ and contract well-qualified Latino mainstream organizations. experts have both art, traditions, and ways of seeing that should be experts. Due to the demands for interpretation critical and personal views. A personalized invited by arts organizations to participate and internet access to Latino arts is key. and portrayal of Latino arts and culture, experts perspective is more easily accessed when the dialogue. Finding community experts and including organizations should explore the creation of must be well educated about the history and expert is a member of the community. Latinos, their knowledge and participation should be part of an online or virtual catalog or brochure for an current praxis of various Latino arts forms. like other groups, often believe experts must the artistic curatorial and programmatic process. upcoming exhibition or performance that would have a life-long relationship to their community At the esperanza Justice Center in san Antonio, be available through e-books and computers Latino experts of varied professional and non- to represent their culture and people. this begs texas, community curators presented an exhibit (to accompany or replace a print version) or an professional backgrounds are intellectual and the contentious question: Who better than a based on the narratives of Westside residents and online presentation of an educator workshop. cultural resources in the community and should be Latino/a to represent Latino arts and culture? the community’s landscape. the exhibit included in 2012, the Museum of Fine Arts of Houston retained as needed. but retention may be difficult there is a role for non-Latino experts to play old photographs collected from barrio residents and launched a digital archive Documents of 20th when other factors come into play such as salary, because they can help to create alliances and printed onto large tarps and exhibited in outdoor Century Latin American and Latino arts - an ambition, or desire to pursue another career path. enhance communication between different venues on the facades of arts organizations, senior exciting development for art scholarship and to counter a flight of Latino experts from community communities. Unfortunately, there remains homes, local businesses, and private houses. teatro programming.88 el Museo del barrio and the or ethno-specific arts nonprofits, organizations a tremendous lack of Latino experts in the Luna, Chicago’s all-Latina theater, joined forces with national Museum of Mexican Art have plans must step up to the plate to expand and develop mainstream to effectively represent, discuss, the Guadalupe Cultural Center in san Antonio to do underway to make their collections accessible their reputations for excellence and innovation. to organize, and program Latino cultural production. the initial draft of an interview-based project titled online. Further, organizations must be cognizant retain talent, Latino arts organizations must provide one way to address this shortage is to broaden “Machos.” the women of Luna interviewed eighteen of websites that rate their performance and healthy work environments, competitive salaries and the definition of “experts” to include members of san Antonio men and then organized their stories services like Yelp, Google, Metromix, trip benefits, and secure resources. As a preventative the Latino community that are not academics or from these interviews and community workshops. Advisor, Foursquare, etc. and respond to both measure, they should create mentorship professionals such as barrio intellectuals, gifted the result was a ninety-minute show where the positive and negative reviews and feedback opportunities between generations of established artists perhaps with little formal education, and actresses performed in drag. in both examples, from visitors. and up-and-coming Latino professionals. working class men and women who contribute the voices and experiences of community experts to the arts and whose expertise is often ignored were intentionally included for cultural productions. by mainstream organizations. Latino experts must be given the opportunity by mainstream Latino arts organizations should actively identify and and non-mainstream organizations to share seek community experts within their communities. their knowledge in their own voice and on their Parents, grandparents and great-grandparents own terms. encompass multiple ways of Latino/a knowing, often

87 Groupon Grassroots is an additional tool for raising funding sources. 88 icaadocs.mfah.org/icaadocs/

36 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 37 transmitted through storytelling, demonstrations in the national discourse on arts and culture. academic subjects and new standardized testing George W. noblit highlight: and daily work. the potential for intergenerational Mainstream institutions must represent the requirements. this huge gap in the curriculum programs that can incorporate understandings of intellectual work of Latino/a cultural workers. of public schools everywhere reflects a shift in As artists, students are the central our elders as experts with younger individuals can With this expectation, resources and access to the public’s attitude toward the arts. teach-to- meaning makers, meaning-making is lead to the development of new Latino experts. university and support networks for graduate the-test imperatives required by no Child Left an interactive process that enables students should be increased. endowments behind, render the arts frivolous, un-academic individuals to give order to experience Marketing experts have noticed that recent should be established to fund students dedicated use of time. Further, arts education is considered and to communicate it to self and generations of Latinos have an interest in cultural to pursing arts careers in academia. a luxury and many low-income students do not others… thus student voice, which is Contents DUCAtion F items and knowledge from the past. retro- have the opportunity to engage in the arts at often ignored particularly for disfavored e acculturation has been defined as a: “‘conscious the mainstream arts world prides itself on school. Latino communities, particularly children ethnic and racial groups, is empowered. e o

rts search for ethnic identity or roots, especially by precise expertise in art history, theory and living in low-income neighborhoods, are affected engagement in the arts may provide a b L A second-, third- or fourth generation Hispanic- criticism, color theory, visual pedagogy, music by this tragedy nationally. means of redirecting the anger, anxiety tA Americans who have lost some or most of their theory, and performance art. encouraging and alienation reported by numerous cultural traits.’”89 Many Latinos form part of this and enabling Latinos/as to study one of these Arts education in schools develops the “‘potential students of color and students who live phenomenon although it is not exclusive to them, specialized fields is an essential facet of Latino/a audience’” of arts organizations; without it with the challenges of poverty. 93 since members of other ethnic, racial and regional visibility and cultural transformation. each the “‘health of the arts ecosystem will be groups have also begun to reach back. Latino elders specialization utilizes its own particular lexicon in jeopardy’”.90 A survey conducted by the the national Visual Arts standards published should be considered the community’s experts for and Latinos must be able to use the language national endowment for the Arts found that by the national Art education Association this retro interest. while integrating their own expressions and since 1982, African Americans and Latinos have (nAeA) acknowledges that the “arts are a way meaning making. been negatively impacted by a “collapse in arts of knowing” through which students increase Collecting that knowledge, although an immense education” and arts attendance by young adults their ability to understand the world. no matter challenge, has enormous value for preserving Latino executive directors at arts institutions often in these communities has declined more than what type of art they create, students “learn how culture. storyCorps is a great model to follow for hold a master’s degree or doctorate in an arts among whites. in another survey, the percentage to express themselves and how to communicate Latino organizations interested in preserving Latino or business related field, as do department of Latinos, ages 18 to 24 who reported having with others”.94 the nAeA recognizes the cultural knowing. the institute for Latino studies at notre heads, and cultural critics. regardless if the taken one art class during their life, dropped from diversity of the U.s. as a “vast resource for arts Dame has focused on collecting oral histories to academic degree is used for scholarly research 47% in 1982 to 28% in 2008.91 Largely the education” and highlights how the “construct[ion of] document the history of Latino arts and culture and teaching, or leading an organization, Latino/a decline is a result of dramatic cuts in arts education arts curricula attend to issues of ethnicity, national from writers, poets, artists, and leaders from across participation in the university system is essential funding over the last few decades, denying Latino custom, tradition, religion and gender.”95 Moreover, the U.s. so that Latinos can continue to develop critical, and African American communities access to sincere, polyphonic, and significant scholarship, formal artistic development while at school. research now regards culture as a set Latino Scholars of Arts and Culture clout, and sound organizational strategies. of tools, perspectives and capabilities Without question, academic research in Latino/a in a letter to school and education community that students can deploy in the pursuit of arts and culture is extremely important. A leaders, U. s. secretary of education Arne Duncan learning. When these tools, perspectives proliferation of timely and relevant exhibition stated: “the arts can help students become and capabilities are suppressed or catalogs, textbooks, lectures, articles, films and tenacious, team-oriented problem solvers who denied, students are educationally other scholarly works, depend on the Latino/a are confident and able to think creatively. these disempowered.…A student receives from presence in academia. the smithsonian, taller Arts education qualities can be especially important in improving his or her culture a racial identity, and for Puertorriqueño, the Mexican Museum, research learning among students from economically [Latino] children and youth, their racial libraries, and universities are just some of the sadly, the story is not simply that art education disadvantaged circumstances.”92 Duncan’s letter identity can connect them to a wider institutions that have a substantial collection of is in danger. it has already been eliminated from acknowledges the immense value of arts education project of racial uplift.96 Latino archives – papers, artifacts, interviews many school districts’ curricula in the U.s. Many at the very top and encourages increased support and rare books - that should be used for elected officials and school administrators argue throughout the schools. Mary stone Hanley and ironically, scholarly research in arts education scholarship of all kinds. increased participation that funding limitations prohibit art education in scholarship will foster Latinos participation instruction and that the arts cannot hold up to other

90 Mike boehm, “Fewer young blacks and Latinos attend art events: neA study” Los Angeles times, (March 9, 2011). 91 id. 92 the secretary of education (August 2009). 93 Mary stone Hanley and George W. noblit, Cultural responsiveness, racial identity and Academic success: A review of Literature, Heinz endowments, at 66 (June 2009). 89 the marketing firm Portada’s study - “Marketing to American Latinos” as quoted in Carrie Gerguson Weir, “Growing Up, reaching back” (september 29, 2010). 94 national Art education Association, “national Visual Arts standards” at 4 (1994). 95 id. at 9. 96 stone Hanley and noblit, at 5.

38 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 39 is in step with critical, relevant, and culturally but instead mindfully integrated all year round.101 outside of schools and arts organizations Additionally, an online platform for the publication sensitive theoretical and practical developments For the arts to be reintegrated or kept in the will assist to further develop the potential of projects, research, and curricula by Latino/a in teaching, art making, exhibiting, and community classrooms of Latino children and youth, the roles of arts education, to pursue efforts art educators, teaching artists, and allies in the engagement via traditional and new media. the Latino community must take up this cause.102 and activities for cultural preservation and field can be a powerful vehicle to encourage arts are “cultural productions” that support ideals reclamation, and to support inter-cultural the necessary scholarship and foment others of freedom, defy rigid interpretation, and can be Changing the Frame of Arts Education understanding in Latino communities. in discussion. Given that excellent Latino/a used to create culturally responsive programming What is needed is the overall change in the arts and cultural education requires specialized that can lead to “the learning of wide range of “frames of references” about the arts and culture n Arts organizations and educators should knowledge and experience, the creation of an Contents DUCAtion 97 F competencies” by young people. of people of color and their significant impact undertake efforts to extend artistic and independent educators journal would be one e on their academic achievement.103 An organized cultural literacy to adults, via art workshops, possible avenue to strengthen and promote the e o

rts elliot W. eisner highlights the influence of materials campaign for art education in public schools classes, tours, and artist talks. these learning field (also available online). Latino/a teaching b L A and activities with regards to how a student is is needed to increase economic support in opportunities need not be limited to formal artists also should write and document their tA “challenged to think”: “the curriculum is a means school districts and among policy makers across settings but can take place in community experiences and expertise through a journal, for developing the mind, that makes the planning of the country. Advocates and allies must use centers, senior residences, places of worship blogs, and other platforms. curricula so critically important. When we decide messages that highlight how arts education is and social service organizations. what will be taught and how it will be taught, we fundamental to well-rounded academic success Another pressing need is greater scholarship influence, but do not determine, what students and literacy development, and should be given n Arts organizations should include and aimed at the development and the implementation will have an opportunity to learn.”98 taking it a equal standing with other academic subjects. expand art courses, workshops, and of innovational programming for the growing step further, the elimination of arts education from Without this support, arts education in schools programs, and allocate resources for the population of children 0-3 years and their parents. the curriculum limits the ways in which any child will continue to be eliminated from the general publication and promotion of arts education the U.s. Latino population consists largely of will engage with the world. “[Q]uality” art projects curriculum. As a result, children and youth, materials. Making these programs and children and youth and many of their needs have not provide students an opportunity to “explor[e] how Latino and non-Latino, will obtain the benefits materials available online and using new been addressed. the arts should be a significant one’s sense of self is constructed within complex and rewards that arts can have on their academic social media to promote them and to engage component of the curriculum used in schools family, social and media experiences”.99 studies and personal lives. new audiences will increase accessibility. and community organizations when serving this demonstrate that “culturally responsive pedagogy population. Due to the visual, performative, and and positive racial identity can play major roles in some recommendations for increasing the n Art organizations should offer alternative intuitive nature of the arts, making art can be a promoting academic achievement and resilience” role and impact of arts education in Latino spaces outside of school for classes, sanctuary and playful companion in language and for Latino youth.100 Additional benefits of arts communities include: workshops, and teen programs exploring literacy skill development between children and education include socialization, motor dexterity, various artistic expressions and forms. their families.104 Arts education programming discipline, critical thinking skills, and self-esteem n both parents and educators must be enlisted for young Latino children should not lag behind. building. A student that does not benefit from arts as advocates and encouraged to promote n Funders should provide resources to f by identifying and targeting the parent audience, education has limited opportunities for greater arts education in schools and throughout acilitate the publication of resources and schools and arts organizations can establish development, engagement and interest in the arts. the community. to engage them as allies, papers that will inform school districts, activities that will increase support networks Given the immense benefits of arts education, parents and educators must be informed principals, teachers and parents about the among Latinos. Latino children and youth, many of whom live about the benefits of arts education. once role of arts education and its contributions t in disadvantaged communities, cannot be left engaged, the home and school will help to o the community. When possible, art educators and schools should behind in this push to increase the presence of create the next generation of champions for embrace new technology and media in their art education. Latino culture, arts, and history the arts and arts education. n Grants dedicated to the development of arts arts instruction with children, youth, and families education should not be reduced to celebration education materials and academic papers supporting not only the arts but also 21st century of holidays or relegated to cultural history months, n the recruitment of arts education allies and the participation of conferences and skills and competencies. this approach links the convenings will assist with the creation of arts with other professional skills, and strengthens much needed scholarship and curriculum the contemporary value and application of arts 97 id. at 9. 98 eisner, the Arts and the Creation of Mind, Yale University Press, new Haven at 72 (2004). 99 olivia Gude, “Principles of Possibility: Considerations for a 21st Century materials and facilitate the discussion of best education in students’ overall learning. For Art & Culture Curriculum”, 60, 1 education Module at 8 (January 2007). 100 stone Hanley and noblit, at 5. 101 the lack of Latino and Latin American history and culture taught in schools continues decades after the Civil rights Movement. Moreover, in some parts of the country like Arizona, ethnic studies have been banned from public schools and the ban practices and learning new ideas and models. example, creating an internship program where has led to the removal of established Mexican-American studies programs. even when certain aspects of Latino and Latin American history are included in schoolbooks or taught at schools, they generally do not encompass all U.s. Latino history. it is not enough to talk about Puerto rican immigration to new York, the exodus of Cuban families to Florida after Cuba’s Communist revolution and when the U.s.-Mexico border crossed over Mexican communities – what about the stories of Dominicans, salvadorans, Colombians, bolivians and others? 102 nAeA recommends the “creative and continual use of community resources” to increase students’ exposure to the arts where local arts organizations are tapped 104 Consider examples like the smithsonian early enrichment Center, Geoffrey Canada’sb aby College in the Harlem Children’s Zone, and the stroller tours at the Art institute of into. national Art education Association at 11. 103 eisner at 85. Chicago that demonstrate the expanding number of programs targeting the early childhood demographic.

40 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 41 high school and college students can learn and increased professional development and assistance n Arts education projects that engage Currently there is limited scholarship about practice their computer skills and creative thinking are crucial, and can strengthen the caliber of arts Latino/a epistemologies and lived art therapy as it relates to Latino community, at an arts organization through web and graphic educators and help quiet any misconceptions about experience, to foster empowering, lending to a lack of understanding of its benefits design, social media, filmmaking, e-blasts and their skills and capacity. Arts educators, including de-colonial pedagogy and healing. 107 for patients and clients. the accessibility of art more can be an exciting way to cultivate a fresh teaching artists, should be empowered to discuss therapy to Latinos also is further challenged by audience art lovers while providing students the value of their work, their art, and the positive n engage ecological curricular content and the shortage of practitioners of color - less than meaningful experience in the arts.105 impact of their efforts on children and youth. Like all approaches to arts education to educate a 10% according to a 2009 survey of American er APY teachers, they need to have adequate preparation new generation of critical consumers and Art therapy Association members.108 in fact, the Contents t H F Professional Development of Art and ongoing professional development so they makers of material culture that respect the authors of this survey note that the lack of cultural Educators can maintain standards for education and growth environment and our roles as caretakers of diversity among art therapists is a “liability in terms e o rts 109

A the campaign for arts education must include increasingly expected in schools. they must have the planet. of the future growth of the profession.” b L efforts to increase professional development of 21st century skills, dedication to their profession tA arts educators, especially in the Latino community. and their students, persistence to compete for n Launch accredited teaching Artist in Latino communities, there exists a pervasive, Presently, there is a shortage of Latino arts available positions, and then withstand the job’s Certification programs. negative stigma and shame regarding mental educators in public schools and mainstream everyday challenges. illness. Additionally, those Latinos who seek institutions with expertise in Latino and Latin Latino arts educators also should take up causes support may be more restricted if they are not American arts. the thematic interests of many Part of the struggle is ensuring that teaching artists that support Latino youth and their parents such as english-speaking, due to the lack of spanish- arts educators remain culturally homogenous are aware of available resources. reaching out increased waivers from deportation and bills like speaking therapists and counselors. the focused on european or White American cultures; to local arts councils, co-ops, galleries, colleges the DreAM Act. As part of the Latino community, practitioner’s ability to communicate in spanish these educators often seem unaware of the ethical and universities about resources, programs, and arts educators along with teachers and professors, can enable the Latino client to help break away dimensions of teaching about other cultures in the teaching opportunities is an excellent way to start. should align with the best interests of youth who misunderstandings and fear about seeking help U.s. Multicultural arts education frequently suffers these “target” organizations also can be potential wish to achieve success. it is they who will be the for depression, anxiety, emotional trauma, physical from its formulaic approach to teaching about partners to provide professional development future advocates and allies for arts education, arts and mental abuse, sexual assault and rape. Among the Ancient egyptians or Aztec Civilization and courses and resources. and culture in their communities. Latino outpatients, the most common problems often omits any mention of their contemporary are depression, low self-esteem, isolation and descendents, their arts, and their relationship Latinos and arts organizations should actively loneliness which are intensified by “cultural and with the U.s. it is no wonder that few Latinos/as support the implementation of the national identity conflicts” as a result of immigration.110 the concern themselves with issues of representation Accepted teacher Artists Hourly rate, in order to benefits of art therapy include increased “self- at arts institutions, in publications, and within provide arts educators a fair, livable wage standard. understanding and insight to personal problems” popular culture. it benefits teaching artists who rely on teaching for Art therapy and a greater understanding of the grief and their livelihood; it further validates their value as personal trauma tied to immigration.111 Moreover, Many teaching artists face a negative stigma - educators and contributors to their communities; Art therapy services and programs are often a study has been conducted on the benefits of those who teach cannot “do” (in the real world). and it will assist them to acquire other benefits overlooked resources to support the recovery, certain types of art therapy for older Latino adults A career in the arts may be rewarding on many such as medical and retirement saving plans. growth, and cycle of healing for Latinos who need who may gain from “enhanc[ed] self-perceptions levels but it is not always rewarding financially. mental health and social services. the benefits of and improv[ed] cognitive performance”.112 An indeed many artists decide to teach as a way to other suggestions to enrich the arts education art therapy - such as increased coping skills, stress integrated bicultural approach to art therapy with supplement their income, pursue their passion field within organizations, universities, and reduction, and self-soothing effects, and lessening the use of Latino artistic practices in a structured for teaching, or reap the professional benefits schools include:106 the stigma of mental illness - should be promoted group setting can benefit many Latino patients of engaging with their students. nonetheless, in the Latino communities. Advocates should use and clients. teaching artists like all educators can benefit from n Develop transnational partnerships centered a strong message that highlights these benefits resources, which allow them to develop their in art education projects, symposia, through all communication and media platforms. Academics have noted an increased demand for talents and teaching strategies. and conferences.

107 Pedagogy education should adopt non-traditional vocabulary to show continuity of our cultural patrimony and our bodies of knowledge to highlight its urgency and vitality. 105 see exemplary models for youth driven programs that promote creative exploration through technology such as: the intel Computer Clubhouse which serves over 60,000 108 David e. elkins and sarah P. Deaver, “American Art therapy Association, inc.: 2009 Membership survey report”, Art therapy, 27:3, at 142 (2010). naturally, this number may youth worldwide including Latin America and includes major partners such as the boys and Girls Clubs of America and YMCA. it provides bi-annual opportunities for youth from not reflect art therapy practitioners who are not AAtA members but it does provide an idea of the exceedingly low levels of diversity for people of color in the U.s. 109 id. at 147. across the globe to gather together and build cultural exchange. YouMedia, a growing afterschool program housed at the Chicago Public Library’s downtown Harold Washington 110 Diana bermudez and Mercedes ter Maat, “Art therapy with Hispanic Clients: results of a survey study” Art therapy: Journal of the American Art therapy Association 23(4) Library Center, is a dynamic space that encourages high school youth to connect, be creative and hone their technology and media skills. 106 these suggestions also can be AAtA, inc. at 166 (2006). 111 id. For more information regarding multicultural competence in art therapy, see Mercedes b. ter Maat, “Developing and Assessing Multicultural Com- applied to the art therapy field, which will be discussed in the next section. petence With a Focus on Culture and ethnicity”, Art therapy, 28:1, 4-10 (2011). 112 Amanda Alders and Linda Levine-Madori, “the effect of Artt herapy on Cognitive Performance of Hispanic/Latino older Adults”, Art therapy, 27:3, at 134 (2010).

42 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 43 culturally sensitive art therapy and multicultural n Art therapy as a profession must be encouraged showcase Latino arts and culture in the U.s. Yet, the American Latino is years in the making. What training for practitioners.113 one of the reasons among Latinos who are interested in the arts greater concerns and needs exist and should be happens to the survival of the already existing why there has been under-utilization of art therapy and helping others. schools, universities and addressed by Latino leaders inside and outside Latino arts organizations throughout the country among Latinos is that the types and quality of the arts organizations should provide platforms the arts and cultural spheres of influence. where there is an immediate need to introduce or art therapy differ from whites, although “cultural through lectures, workshops and career establish arts programs? it is not simply a matter compatible services”, can lead to increased use counseling, by which art therapists can discuss the idea to create the smithsonian national of competing for the same dwindling resources. 114 MU seUM by Latinos. Art therapy practitioners should have their field and recruit potential practitioners. Museum of the American Latino arose when in “[s]ome knowledge of a client’s culture… in order to 1994, a taskforce distributed a report, “Willfull Have there been serious discussions in Washington Contents

F engage in quality ethno-relativistic technique for n Funders should provide grant opportunities for neglect,” highlighting the failure of the smithsonian D.C. and among the advisors of the smithsonian culturally competent service delivery.”115 new art therapy programs with different Latino to represent Latinos in their exhibitions and that national Museum of the American Latino about soni A n e o client populations, increased scholarship the establishment of a Latino museum would the needs of Latino communities on local and b L it H What becomes increasingly prevalent is that just regarding these programs, and encourage address this issue.119 Presently, the smithsonian regional levels? Have efforts been made to tA s M like the growing field of art education, art therapy partnership among scholars, arts organizations, national Museum of African American History increase arts and cultural resources to the is an untapped resource and career path for schools and social service organizations for and Culture is in the midst of construction and growing and new Latino populations in Louisiana, many Latinos interested in art. Most commonly enhanced program implementation. follows the opening of the national Museum of the Kansas, and Alabama, for example? serious art therapists become interested in art therapy American indian opened in 2004. the proposed efforts and innovative ideas are needed now to as a field “through an academic class, a friend, n the American Art therapy Association and national Museum of the American Latino (nMAL) sustain existing Latino arts organizations in order to or talking with art therapists”.116 that being the other professional art therapy organizations is in its planning stages. prevent Latino arts and culture from disappearing case, Latinos have not had many opportunities should increase outreach to ensure greater from communities. At the same time, other to experience or learn about art therapy so they diversity among practitioners. A resource guide Undoubtedly the history, art, culture and cities and regions with Latino constituencies may remain unaware of the numerous benefits it may for interested individuals and art therapists contributions of Latinos in the U.s.A. deserve a place wish to create their own arts organizations. Will provide as a client and career choice. Additionally, will boost accessibility to informational in Washington D.C. so that visitors to our nation’s funders, officials and leaders support their efforts many arts educators may have an interest in art opportunities, professional development capital can learn about Latinos. nevertheless, and interests to reach and provide programming therapy because they observe that students may classes and workshops (this may be similar to there are significant issues to take into account. As to Latinos and non-Latinos? have certain emotional and behavioral struggles the one discussed for artists). mentioned previously, Latino arts organizations are and want to assist them with services beyond struggling with the economic downturn. raising symbols are undoubtedly important. beyond the the sphere of art education.117 in many ways, arts funds, sustaining programs, expanding facilities, and symbolism of a national Museum of the American education and art therapy are similar disciplines maintaining staff have always been the day-to-day Latino, our nation’s Latinos need positive cultural in that the arts are used as a vehicle for learning, challenges for these organizations. but all these arts outcomes where they live. therefore, an in- personal growth and empowerment. smithsonian national challenges have escalated tremendously. the depth discussion and planning process should scarcity of resources coupled with the negative address how this proposed museum will benefit Like the field of Latino arts education, the field Museum of the and cynical views of arts and culture prevalent in other Latino arts organizations to stir more of art therapy can benefit from the following the American society and government begs the recognition for Latino arts and culture, to raise recommendations to expand its impact on the American Latino question: should a national museum be built when and create resources, and to identify points of Latino community. some Latino arts organizations are barely making collaboration for programming. the Crescendo Cultural taskforce discussed the ends meet and may not survive? n increased education and advocacy about what implications and challenges of establishing the As Latino/a artists and arts professionals, we art therapy is and its positive impact. Greater smithsonian national Museum of the American indeed, a national Latino museum elevates the wish to offer a critical look at the timeliness and awareness will lead to allies and economic Latino for the present and future of Latino arts profile of significant Latino contributions to the consequences of participating in the synthesizing support for art therapy among parents, teachers, and culture. there is no argument that Latinos country and to the American people. Hence, of our communities within a singular building. and art and social service organizations. 118 deserve a national stage in Washington D.C. to there is a strong argument that the allocation of Given the urgency to embrace innovation in terms more resources for the nMAL would most likely of fundraising, digital technology, new media, and increase resources for Latino arts in general. but the expansion of arts education programming, the proposed smithsonian national Museum of a successful nMAL cannot be fashioned from old 113 Abby Calisch, “Multicultural training in Art therapy: Past, Present, and Future”, Art therapy, 20:1, at 12 (2003). 114 id. 115 id. 116 Kari s. oppegard, David e. elkins, Josie Ab- benante and beth b. bangley “Choosing Art therapy as a Career”, Art therapy, 22:2, 96 (2005). 117 id. at 98. 118 over the last two years, Amy L. Cavazos, Crescendo Cultural task force member, created an art studio space and led an art therapy initiative with the Latina youth of the Proyecto Juventud program at Mujeres Latinas en Acción in Chicago. the goal was to “break down barriers that exist for Latinos through art and spoken word; [create] a space to vocalize the struggles we see within our families; [understand] the confusing message we are raised to exist between, and discover achievement in community.” reframing social Action in Art therapy (December 19, 2011). 119 Kate taylor, “national Latino Museum Plan Faces Fight”, the new York times (April 20, 2011).

44 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 45 models. the leadership and curatorial staff must regional and ethnic groups? mentoring and assisting with their future. if education Association, Americans for the Arts, challenge themselves to create a new kind of museum the younger generation is not included in the etc. Attending these conferences and forums, that can experiment with different interactive models w How will the nMAL determine peoples Museum’s planning and implementation process, and preparing panel-based sessions will diffuse for a 21st century audience. Museum professionals represented? More specifically, how potential support for its long-term survival will be the position paper and new ideas about Latino must embrace fresh, innovative approaches, and often will specific groups get a dedicated drastically diminished. arts in the U.s. imagine the museum as a biosphere or laboratory. As exhibition? How much gallery real estate will

MU seUM such, it is important to consider the expansion of the each group have in the permanent galleries? Clearly, as the planning of the smithsonian national Crescendo Cultural taskforce members can and smithsonian Latino Virtual Museum and not only the Museum of the American Latino continues, it should should serve as advocates to discuss the ideas Contents

F creation of a physical museum – in other words, let’s w Will the voices, viewpoints, and experiences not be set up for failure. and recommendations set forth in this position create a living, evolving museum online evocative of of Latino elders and youth be considered and paper. but, there are more potential leaders at soni A n e o the liminal spaces Latinos/as negotiate, redefine, and given balanced representation? national, regional and local levels that should be b L it H thrive in every day.120 identified and recruited. At the same time, it is tA s M All these questions must be addressed impartially vital to inject into the discussion the viewpoints of Another consideration is that dedicated nMAL funds and with an understanding that each Latino ethnic Crescendo Cultural in other Latino arts networks. could be distributed across national Latino/a arts and group’s role in shaping American history, present Future of culture organizations for exhibition, research, and and future is unique. When the smithsonian the taskforce does not purport that it incorporates public program development, in the form of a nMAL national Museum of the American Latino opens Crescendo Cultural all the views and ideas of young Latino arts Affiliates Program. Alternatively, funding could be set its doors, it will not be enough for it to serve as professionals. to expand and diversify the aside to open satellite nMAL museums maintained, a physical building for visitors to gain a cursory next steps dialogue, the taskforce believes strongly in the curated, and promoted by Latinos throughout the U.s. understanding of Latinos. it must be capable of importance of including other young Latino voices the goal then is to expand Latino/a exhibition beyond withstanding the challenges of all museums and originally, the national Museum of Mexican Art had and promote the need for Latino arts professionals the Mall, and ensure local programmatic relevance, remain relevant to current and future generations. envisioned the Crescendo Cultural taskforce’s first to work collaboratively. Crescendo Cultural scholarly research, and advocacy. by strengthening otherwise, its raison d’être will become less convening to be a stepping stone for a national hopes to invest in a marketing plan that involves this online education initiative and broadening its impactful in the long term because the Museum conference of Latino young art professionals, but telecommunications, new and social media such content and reach, it can serve as a valuable, state- will fail to take into account the larger and ever- it soon became apparent that other needs existed. as a website, Facebook page, Wikipage, twitter, of-the-art tool for all kinds of educators too. involving picture. Museums cannot be merely the initial idea of creating a position paper of policy smart phone and smart tablet apps. landmarks but educative tools for personal and recommendations for a larger audience around the nMAL leadership and supporters should community inquiry and evolution. Latino arts and culture was still relevant, as it served Another idea is to host Crescendo Cultural plenary consider the experiences of the national as the framework for a larger plan of action. discussions, convenings or informal gatherings in Museum of the American indian and soon-to- the Crescendo Cultural taskforce advocates selected cities to allow for more regional-based be-inaugurated national Museum of African for the inclusion of young Latinos in the taskforce members stressed the importance to discussions. Monthly or quarterly webinars or American Art and History. Moreover, they should planning, curatorial, and programming aspects create a national grassroots plan for expanding conference calls will provide a regular platform to reflect on a multitude of questions: of smithsonian national Museum of American the dialogue that the position paper initiates. to discuss ideas, form new recommendations and Latino. Do the planners understand the important do so, Crescendo Cultural will need to increase collaborations. by increasing the opportunities w What are the pros and cons for becoming contributions that young people can make so its capacity to raise funds to support these goals for discussion, Crescendo Cultural can attain a repository of Latino arts and artifacts? that the Museum is relevant to them? it is up and ideas. this plan includes participating in more expertise from individuals that have other Will it be the premier repository or will it to young Latino arts professionals and all young conferences to gain allies and educate others: professional experience in business, community collect only enough objects to display in its Latinos to insist that their voices be heard and Latinos and non-Latinos. these conferences and organizing, fundraising, etc. permanent galleries? included. Young Latinos cannot permit their own forums include: new American Voices, national community leaders to argue that they could not Consortium in Higher education, Latino Arts the members of the Crescendo Cultural taskforce w if it is to provide a comprehensive history find them (young Latino arts leaders). older now at Hunter College and UCLA, Macondo acknowledge that this position paper does not of Latinos in the U.s., how will it involve generations should be held accountable to sharing Foundation, inter-University Program for Latino reflect every aspect or viewpoint about the the cooperation of experts to advise in the their legacy with younger generations, appreciate research (iUPLr) American Association of current state and future of Latino arts and culture exhibitions or displays of specific Latino their viewpoints and take a greater interest in Museums, Grantmakers in the Arts, national Art in the U.s. the taskforce hopes that the efforts

120 http://latino.si.edu/education/LVM_Main.htm

46 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 47 described above will address some of the holes the taskforce recommends the creation of a in this paper, for example: music and musicians; nationwide marketing plan to promote Latino Profiles of Crescendo Cultural literature, writers and poets; filmmakers; other arts and culture. to complete a marketing plan, Latino ethnic groups and smaller towns and rural short and long- term goals must be determined,

en D o areas not represented by the taskforce. corresponding marketing actions and tools taskforce Members identified, and measurable outcomes defined. All taskforce members hope to support the Furthermore, the plan should include activities res C continuation of this group in order to take on to increase the profile of Latino arts at a local Lizzet Alvarez partnership with the Los Providence, rhode island. Prior Contents

F C Mexican and salvadoran and Angeles County Parks and to joining the steel Yard F the needs outlined in this paper. Members level with the collaboration of community-based

o here expressed an interest in dividing into organizations and Latino arts organizations. the raised in Los Angeles, CA recreation Department to in 2008, she studied e o re teams to create a resource guide for artist, to involvement of young and seasoned Latino arts expand J.A.M. sessions out Government and international b L invest in resource materials, and to post these leaders and organizations in the plan is crucial for Assistant Manager of into the community. studies at the University of notre tA Community engagement at Dame and the Universidad

FU t U materials online through a Crescendo Cultural- the organization of individuals and groups into a sponsored website. dynamic, collaborative network. the Clarice smith Center for Lizzet’s first taste at working iberoamericana in Mexico City. the Performing Arts at the with an arts organization was Alma also holds an advanced What Does Crescendo Cultural Hope An effective plan will build informational University of Maryland as a Los Angeles County degree from brown University in to Achieve? networks among Latino arts leaders and create Arts Commission intern at Public Humanities and Culture. a stronger platform to gain new allies for Latino Prior to joining the Clarice Plaza de la raza, a visual and n effective policies to support Latino arts arts and culture. the end goal is to increase smith Center for the performing arts school. Lizzet During her practicum at the and culture – organizations and artists. resources for Latino arts and culture through a Performing Arts, Lizzet believes in the arts as a tool national Museum of American more equitable allocation of public and private worked at the Ford theatre in that can help shape a healthier History (nMAH), Alma helped n Greater, equitable funding and investment resources that will support arts education, Los Angeles as the Manager and more equitable society. organize the collection of oral from all government, corporate, and youth arts programs, theater, museums, literary of Community bridges, a histories and material culture individual funders. workshops, cultural centers and musical, dance, community engagement and Lizzet is a former Arts of former braceros in southern and drama productions. outreach initiative created to Management Fellow at California, Arizona, and Mexico n increased cross-disciplinary collaborations more accurately reflect the the John F. Kennedy Center for the bracero History Project. between ethnically specific and mainstream Young Latino arts leaders are responsible for demographics of Los Angeles for the Performing Arts in in 2007, she received the institutions. staying informed and serving as active participants County in Ford programs. Washington, D.C. smithsonian’s Minority internship in arts presentation and performance, arts through the initiative, the Program Award and participated n Heightened awareness about the importance education, art therapy, arts advocacy and all Ford saw a dramatic increase in the Latino Museum studies of the Latino arts, and its valid and deserved things related to the promotion and continued in participation by Latino Program (LMsP) to continue place in the greater American experience. enrichment of the arts. even if one is not an audiences from 13% to a Alma Minerva Carrillo work on the bracero History artist, a curator, arts educator, art therapist or arts steady 40% and in Asian Mexican, born and raised Project and to learn the n Larger audiences for Latinos arts programs, administrator, it is the responsibility of Latinos to Pacific islander audiences in Jalisco, Mexico and institution’s practices and galleries and exhibitions from Latinos and articulate the importance and value of Latino arts from 4% to 10%. While at san Antonio, tX methodologies with access to non-Latinos; the expansion of outreach in the U.s. and the rest of the world with clarity the Ford, Lizzet programmed collections, lectures, workshops efforts to attract audiences. and authority. a family performance series, Program Director at the steel and panels. curated a performance art Yard in Providence, ri and playreading series by Alma sits on the board of artists of color, and developed Alma serves as the Program Directors for new Urban J.A.M. sessions, the Ford Director for the steel Yard, Arts, a non-profit nationally Amphitheatre’s participatory a non-profit industrial arts recognized for empowering arts series. she also community organization in the young people to develop a established the Ford’s first industrial valley district of creative practice they can

48 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 49 sustain throughout their lives 1973, MLA is the only Latina- Aurora Anaya-Cerda promoting art and literacy in and activist-minded group University of Maryland, College through yearlong free out-of led organization in the nation Mexican, born in Los Angeles, her native east Los Angeles aimed at creating a visual Park where he co-founded school programs and for the and provides an array of CA and raised in Jalisco, neighborhood. A UCLA vernacular around queer the first U.s. Latina/o studies

es Hive Archive, a non-profit, social services and advocacy Mexico and Los Angeles, CA graduate, Ms. Anaya-Cerda has Latinidad in Los Angeles. Program in the Mid-Atlantic feminist arts organization initiatives that promote non- a double bachelor’s degree raquel’s earned her bA and coordinated the Latino F i L committed to fostering creative violence, reproductive health Manager of Family Programs in History and Chicana/o in Journalism and Central Museum studies Program for ro and artistic growth, collective and leadership development. and Cultural Celebrations at studies with a specialization American studies from the the smithsonian Latino Center. P learning, and relationship across el Museo del barrio in new in education. she has been California state University His book, the Fire of Life: the Contents C e F differences for local artists and Working from a participatory York City awarded the Juanita Centeno at northridge and her MA in robert Legorreta—Cyclona or allies who are committed to action framework, Amy Leadership Award, the UCLA Performance studies from Collection, 1962-2002, e o

K F ending sexism. developed Arte y Acción, an At el Museo del barrio, Women for Change Leadership new York University. she was published by the UCLA b L arts activism program that Aurora plans family programs Award, and the Casa Atabex has performed nationally as Chicano studies research tA tA s fuses art therapy and youth directed for its audience and Ache Women Warrior Award a performance and literary Center Press and earned development practices to the surrounding community, for outstanding dedication artist, been a community an international Latino book Amy Louise Cavazos provide urban Latina youth which develops social capital and service to her community. documentarian for the last 15 Award in 2010. His work has Mexican, grew up in with greater access to arts among museum guests and Aurora is a scholarship years, published in journals appeared in Aztlan: A Journal of san Antonio, tX education and mental health creates bridges between the recipient of the new start and anthologies, served on Chicano studies, Collections: A services; to cultivate youth civic Latino community and others. Fund, awarded to women a number of grant panels Journal of Museum and Archive Child & Family Art therapist, engagement in relation to social Using el Museo del barrio’s entrepreneurs in new York City, and is currently the Manager Professionals, and Mixed race Children’s research triangle, issues impacting the Latino resources as a platform, and a member of the Young of Community Partnerships Hollywood (nYU Press, 2008). Chicago, iL community; and to strengthen Aurora collaborates with the Hispanic Leaders Program for and a member of the positive personal and cultural smaller institutions, serving and the national Young Latino ensemble at Cornerstone Amy is an artist, art therapist identities of the youth. through as the connection to broader Leaders in the Arts task Force. theater Company, the leading and activist passionate this program, the youth learn audiences. the collaboration purveyor of community-based Yasmin I. Hernandez about social justice in more about how to use art as a with community groups theater in the United states. Puerto rican, born and raised mental health care and practice of expression, self-care, and schools has helped to in brooklyn, nY Latino communities. she and as a way to give voice to— strengthen and expand the Raquel J. Gutierrez has served children and and make meaning from—their current coalitions. Mexican and salvadoran from independent Visual Artist based families with complex experiences. Los Angeles, CA Robert Hernandez in new York City trauma histories within foster in the height of the economic Mexican from Colorado care, emergency shelters, Her current work is focused meltdown of 2008, Aurora Manager of Community Yasmin’s work is rooted in bereavement support groups, on creating a community Anaya-Cerda founded La Casa Partnerships at Cornerstone Carlos e. Castañeda struggles for personal, spiritual and community mental health partnership between MLA Azul bookstore, an online theater Company in Los Postdoctoral Fellow in the and political liberation. Her agencies. in 2011, Amy was and the Children’s research resource promoting children’s Angeles, CA Center for Mexican American 2011 mural in east Harlem, awarded the Chicago Area triangle to provide greater literature, educational studies at the University of soldaderas, honors the work schweitzer Fellowship, an access to a social justice programing and literature by raquel is a community- texas at Austin and legacy of painter Frida award that aims to support model of mental health care Latino writers. this spring, La based performance writer, Kahlo and poet Julia de burgos, program ideas that address for Latina youth through Casa Azul bookstore opens in playwright, community robb Hernandez, Ph.D. is inspiring continued solidarity health disparities throughout trauma-informed art therapy east Harlem, as a bookstore, organizer and cultural activist. revising his manuscript on the between the Mexican and the greater Chicago area. programming. Amy is a recent café and gallery. Gutiérrez is one of the co- queer visual aesthetics of the Puerto rican communities. As part of the grant, she graduate of the school of the founding members of the Chicano avant-garde in east Her project bieké: tierra de organized a collaboration Art institute of Chicago where before moving to new York, performance ensemble, Los Angeles. He received his valientes explores the people’s with Mujeres Latinas en she completed her master’s in Aurora Anaya-Cerda was a butchlalis de Panochtitlan Ph.D. from the Department fight against Us military Acción (MLA). Founded in Art therapy. middle school english teacher, (bdP), a community-based of American studies at the maneuvers and contamination

50 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 51 in Vieques. it debuted in 2009 anticipate and respond to the its Gabrielle is responsible for the author, Zarela Martinez, Colombia, bogota. As an artist, teacher, and at Vieques’ Museo Fuerte evolving education technological artistic direction of the visual currently is mentoring emerging researcher, irma Conde de Mirasol and is now needs and opportunities through arts program; she manages Gabrielle about the traditions born and raised in California, Carolina presently works

es touring the main island of Puerto the Department of Digital major public art works, visiting and techniques of the Ms. Montes founded the towards completion of a Ph.D. rico. recent projects focus information and Access. As artists as well as the summer Mexican kitchen. Chapinas Unidas, a network of in Art education and Women’s F i L on more personal themes, a native spanish speaker and street conservatory. Working Guatemalan-American women studies at Pennsylvania state ro exploring the cycle of life and writer, Carolina often contributes Classroom is a visual arts and and allies focused on issues of University, where she manages P death in tribute to her brother greatly to support online and theater non-profit that serves peace and justice in Guatemala the school of Visual Arts Zoller Contents C e F who passed from cancer in onsite initiatives supporting historically ignored communities. Leilani Cherie Montes and raising awareness of the Gallery and teaches visual arts or 2010. Another project, Linea spanish-speaking audiences. Prior to her position at Working Guatemalan and Mexican, continuing femicide in that integration within the general e o

K F negra, inspired by the midwife- Classroom, Gabrielle was the raised in Los Angeles, CA country. As the daughter of an K-5 education curriculum. b L assisted home births of her two bringing more than a dozen special Projects Associate at immigrant Guatemalan woman she holds an advanced tA tA s sons, examines injustices in the years of professional work the studio Museum in Harlem. Media Maker & Union who worked at a Los Angeles degree from the school of birthing industry and demands in education technology, Ms. Gabrielle has been involved organizer based in sweatshop for 15 years, sewing the Art institute of Chicago in that women once again drive Kaufman has established multi- with the art community since new York City. brand name clothes she Community Art education. the birthing process. media digital arts programs for she was a teen. During her couldn’t afford, Ms. Montes As an educator Yasmin has community-based organizations previous 10-year involvement Leilani Montes is first and seeks to delineate in her film For over ten years, irma worked with the studio including the boys and Girls with Working Classroom foremost an organizer and an and media work the texture of Carolina has worked within Museum in Harlem, el Museo Clubs of America and the intel incorporated, she participated advocate, in her professional, life for the uncelebrated men multifarious pedagogical del barrio in new York City, Computer Clubhouse network as a student, public art activist and personal life. she and women of various ethnic spaces, creating and and taller Puertorriqueño in impacting the lives of young apprentice and instructor. is a labor organizer for 1199 communities. the film that implementing intergenerational Philadelphia. she continues people from all backgrounds, new Jersey, the health workers’ she co-directed, since salazar, narrative based art projects, to offer workshops and bilingual educators, and adult At the studio Museum, union; lead coordinator about Chicano activist and teaching art for social justice at presentations at organizations learners on the international Gabrielle managed of AF3irM, an activist journalist ruben salazar who K-12 public schools in illinois and campuses throughout the level. responsibilities for its special organization of transnational was killed in a police attack and texas, and developing Us and Puerto rico. Her art events and fundraising efforts. women; and a filmmaker in Los Angeles, played to innovative museum education can be viewed on line at www. Ms. Kaufman received she assisted in planning and arts event organizer. in standing-room-only crowds and programming. As Manager yasminhernandez.com. her Masters in education events and trips for high profile 2011, she led AF3irM in a was used by Democracy now. of education at the Museo technology from the patrons, including ViP tours seminal multimedia exhibition Alameda, a smithsonian Harvard Graduate school of of museums, new York City by 14 transnational female Her past professional Affiliate in san Antonio, education and a bA in Art galleries and fairs as well as artists around the theme of experience includes field union tX, irma Carolina served Carolina Kaufman History and studio Art from national and international art Arrivals/Departures: Women’s organizing in new York City as bridge between distinct Colombian, born in bogota, Wheaton College. venues. she also created experience of Migration Under and community facilitation for grassroots community arts Colombia and raised in presentations, proposals and Globalization. At the moment, 8 HiV/AiDs education and faith and culture organizations, Puerto rico letters targeted at high-end transnational women artists are organizations in Los Angeles. artists, and K-12 schools, sponsors and donors. being gathered into the 2012 galvanizing each group’s vision education technology Manager Gabrielle Marie (Lopez) AF3irM multimedia exhibit, within the foundational fabric at the Art institute of Chicago Uballez beyond her involvement in this time around the theme of of MA’s burgeoning education Mexican, born and raised in the visual arts, Gabrielle is La bracera: Women & Work, Irma Carolina Rubio programs structure and vision. Fusing her interests and Albuquerque, nM profoundly passionate about which opens on April 19th. Ms. Mexican raised in Lubbock, tX professional experiences in regional Mexican cuisine Montes also represented irma Carolina worked as the visual arts, digital media, Visual Arts Program Director and runs the blog Gabriela’s AF3irM at the 2011 Latin Graduate student & personal assistant to author and education, Carolina assists at Working Classroom in Kitchen. the legendary American & Caribbean Feminist instructor of Art education at sandra Cisneros for two years the Art institute’s efforts to Albuquerque, nM Mexican chef and cookbook Conference, encuentro Xii, in Pennsylvania state University prior to pursuing doctoral

52 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 53 studies. Dedicated to cultivating neA Distinguished new Play national arts investments and such as the Kennedy Crescendo Cultural taskforce Coordinator meaningful intersections Development Project Grant philanthropy for the Greater Center in Washington, DC, between emancipatory learning, and winner of the ofner boston region. the Jerry Lewis telethon

es cultural production, and Prize given by the Goodman and the singapore Arts marginalized voices, her interest theatre, a 3Arts Artists Award, Prior to his role at the Festival. through Galumpha, Linda Xóchitl Tortolero F i L in arts based participatory named best new Playwright Foundation, F. Javier was Marlon created and performed Mexican, born and raised in ro research looks at ways of 2010 by Chicago Magazine the Director of Villa Victoria award-winning choreography Chicago, iL P indigenous women and girls of among others. Center for the Arts, a showcased around the world. Contents C e F Mesoamerica co-create living program of inquilinos boricuas Additionally, he led regional Proteus Fund Diversity Fellow opportunities and programs. or curriculum, counter narratives, Her plays include: “el nogalar” en Acción (ibA), for almost and international company at the nellie Mae education Linda also has practiced e o

K F and transcultural identity. she inspired by “the Cherry 6 years. He was the catalyst marketing efforts, conducted Foundation in Quincy, MA litigation in various practice b L continues explorations in making orchard” at the Goodman for the implementation of a auditions and trained the areas at schiff Hardin tA tA s mixed media art and song. theater, and commissioned strategic business plan that company’s new dancers. Linda began her professional LLP including: insurance, by teatro Vista; an adaptation improved the operational, He has taught elementary career in nonprofits as an employment, corporate of “the House on Mango programmatic and financial and high school children in administrator and fundraiser. regulations, intellectual street” for steppenwolf health of their arts programs. organized dance programs Most recently, she served as the property, environmental, Tanya Saracho theater (2009); “our Lady F. Javier guided the plan to at public schools in north special Projects Director at the constitutional and commercial Mexican born in sinaloa, of the Underpass” with teatro focus upon: diversification Carolina and conducted national Museum of Mexican law. As a law student, she Mexico, raised in Mexico and Vista (2009); “surface Day” of funding; widening the over 300 dance workshops Art. in this role, she supervised gained extensive experience texas and lives in Los Angeles with steppenwolf/Chicago impact of programs through worldwide at institutes and new projects and activities as an intern at the Center Children’s Humanity Festival community outreach and universities. this year, Marlon that augment the museum’s on Wrongful Convictions at resident playwright emeritus at (2008); “Jarred (A Hoodoo audience development; founded Médica y salud MrK, programming and capacity. northwestern Law’s bluhm Chicago Dramatists, resident Comedy)” with teatro Luna and furthering ibA’s mission C.A., an import/export medical Legal Clinic and the Legal playwright at teatro Vista, a (2008); “Kita y Fernanda” at through the execution devices distribution company Prior to her tenure at the Assistance Foundation of Goodman theater Fellow at 16th street theatre (2008) of systems that improve in Caracas. Museum, she served as the Chicago. she was awarded the belic institute for the study and “QuitaMitos” with teatro marketing and branding. Development Manager of the Chicago Volunteer Legal of Women and Gender at Luna (2006) and next Marlon has received the Friars Mujeres Latinas en Acción. services Distinguished service Columbia College, an Artistic theater (2011). Foundation Award for throughout the country, Award in 2006. she has a Associate with About Face excellence in the Arts and the Mujeres is recognized as a bachelor’s in History of Modern theater, the founder of the Ñ Marlon Eduardo Torres Gruber Family scholarship leader in providing culturally Latin America and Political series and the Co-Founder Venezuelan, raised in Caracas at binghamton University. proficient services in the science from brown University and former Artistic Director F. Javier Torres and lives in Durham, n.C. He is also a 2009 national areas of domestic violence, and a Juris Doctor from the of teatro Luna: Chicago’s All Puerto rican, raised in Dance Week honoree through sexual assault, parent support, northwestern University Latina theatre. Holliston, MA Vice President, Galumpha, the Chapel Hill triangle homelessness prevention, and school of Law. inc. and Ceo, Médica y salud Youth ballet. Marlon is a Latina leadership. in 2001, tanya has been the lead senior Program officer for MrK, C.A. certified project management Linda established the Pilsen/ artist in most of teatro Luna’s Arts and Culture at the professional (PMP)®, has Little Village information ensemble-devised works boston Foundation Marlon torres is an an MbA in marketing and Center to serve as a Chicago including “Generic Latina,” international choreographer, communications and holds a empowerment Zone (U.s. “DejameContarte,” “the At the boston Foundation, he dancer and entrepreneur. b.A. in theatre. Dept. of Housing and Urban Maria Chronicles,” “soLo is responsible for articulating He has performed dancing Development Program) liaison Latinas,” “soLo tú,” “s-e- and implementing the roles on stages throughout for Pilsen/Little Village X-oh!” and “Lunatic(a)s.” Foundation’s new sector the Americas, europe and cluster and to promote the saracho is a recipient of an strategy and leveraging Asia, including venues empowerment Zone

54 NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL NATIONAL MUSEUM OF MEXICAN ART • CresCenDo CULtUrAL 55 special note to readers:

Want to learn more about Crescendo Cultural and its taskforce members? Please contact: [email protected]

Crescendo Cultural

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Formerly the Mexican Fine Arts Center Museum, the national Museum of Mexican Art opened its doors to the public in 1987. Celebrating its 25th Anniversary, the Museum is now one of the most prominent Latino cul- tural institutions in the country. our permanent collection includes more than 7,000 pieces of art representing 3,000 years of creativity. We welcome more than 160,000 visitors annually and provide educational programs to 70,000 K-12 students. the national Museum of Mexican Art is the only Latino museum in the country that is accredited by the American Association of Museums.

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