The 2019 Field Network Conference

In April 5-7 this year we hosted the third Field Network Conference in Portland, Oregon. Held every other year (leap-frogging with the National Touring Exchange), the Conference gathers Fieldwork facilitators and participants from across the country to further develop the Fieldwork methodology, as well as to discuss other issues impacting artists in their respective communities.

The Conference welcomed Field Network site representatives from all over the country (representing The Field NYC were Executive Director Jennifer Wright Cook, Deputy Director Shawn René Graham, and Fieldwork facilitator Pele Bauch), joined by Portland-based artists, presenters, funders, and audiences for a tightly packed weekend of art-sharing and discussions - on stage and of both the round- and long-table nature.

While feedback forms the foundation of the Fieldwork process, the 2019 Field Network Conference schedule focused particularly on how equity (or lack thereof) shapes feedback in contemporary culture: How are artists using feedback? Is the feedback we’re getting useful or equitable? Who gets to give feedback? Whose feedback counts?

Brett Campbell of Oregon ArtsWatch recently published, "Field of Vision," an in-depth review of the Conference not just summarizing the weekend's programming, but also calling out the challenges in tackling inequity in the arts in collaboration with the very individuals who benefit from said inequities.

"These funders, even those who don’t use public funds (but do get tax breaks for donations), play a vital role in determining what we see and hear on Oregon stages," Cambell writes, "and that role demands scrutiny and constructive feedback from artists, arts lovers, and the rest of the community."

Read the full article here.

Special thanks to then-Network Manager Katherine Longstreth, and to Conference coordinator and current Network Manager Jen Mitas, and conference consultant Subashini Ganesan for organizing such an ambitious event, and for bringing both The Field Network and their local arts community together (in what feels like such an organic way) to engage in these important, pressing discussions.

I Hate Your Work: An Open Discussion at the Alliance of Resident Communities Conference

by Shawn René Graham, Deputy Director, Programs and Services

In early October I moderated a panel discussion at the Alliance of Artists Communities in Portland, Oregon.  The discussion centered around the unconscious and conscious biases we all bring to judging artists' work. Helen Daltoso (Grants Officer, Regional Arts + Culture Council), Daniel Jaquez (Freelance Stage Director, Theatre-maker and Translator), Eleanor Savage (Senior Program Officer, Jerome Foundation) and James Scruggs (Artist + Facilitator, The Field) shared their experiences in addressing bias whether they are adjudicating work, trying to get work produced or educating others about how bias may permeate other aspects of our work in the arts sector. 

Rather than reflect on our talk and recount it all to you, I wanted to share a partial video of the discussion in hopes that what you hear will encourage you to think about unconscious and conscious bias wherever you are in the arts sector.  While the video covers the first forty minutes during which our panelists responded to and reflected on their own encounters with bias, those in attendance also discussed their experiences and some possible solutions they can employ.  As you watch, think about how bias has affected you or how you may have perpetuated bias in your own work.  The honesty of Eleanor’s own definition of bias, Helen’s transparency about funding artists and persistent community participation and James’ stark reminder of how assumptions are made based on what we think we see is important to hear. What are some of your solutions?

I invite you to share your thoughts and ideas in the comments section below. 

 I Hate Your Work in Portland was just the beginning of The Field’s work on the topic of bias and we will continue our exploration vigorously.  Look for us at The Fire This Time Festival in January 2017.  The program will consist of a panel discussion and the next phase, I Hate Your Work in Action.

From left, Daniel Jaquez, Eleanor Savage, 
Shawn René Graham and James Scruggs

This follow-up workshop puts the topics and strategies discussed during the panel into action. Participants will be invited to observe a condensed session of Fieldwork, The Field’s core program that offers artists a unique forum to share works in development and exchange critical, non-directorial, peer-to-peer feedback. Incisive and stimulating critiques are guided by experienced facilitators while you – our guests – are invited to watch and deeply reflect on how this model disrupts biased thinking or assumptions that are made during the course of critiquing artistic work and its potential for showcase or further development. Stay Tuned!

What Have We Discovered? Who Are We Moving Forward?

In our last blog about Field Leadership Fund, we shared what has been working with the FLF Fellowship thus far. This time around, the focus is on one Fellow’s deeper exploration of her vision for herself and how The Field’s resources have supported her journey thus far.  Another Fellow reveals how we all can perpetuate oppressive systems even when it may not be our intent.   As the hosting organization, The Field is also learning more about the role that it plays in these systems. Hopefully, all of the Fellows have learned more about themselves, their journeys, and the role they play as well. All involved must continue to find ways to take accountability for ourselves in this work. Since multiple perspectives can offer valuable insight, we feel it’s important to hear from others involved in the process. See below for a look at the Fellowship experience from the perspective of Artist Fellow, Goussy Célestin and Manager Fellow, Aya Lane. 

Feel free to join the conversation by sharing your thoughts.

Goussy Célestin:

9 Months. A full gestation period for human birth. 9 months of FLF; The Field Leadership Fund. I have been an FLF Artist Fellow gestating towards the birth of my vision- Ayiti Brass. These past 9 months have been filled with growth pains, beautiful discoveries, connections, with the discomfort of “labor” stumbling into possibility. The birth metaphor applies smoothly (like a baby’s skin- Hey, I couldn’t resist!). In all seriousness though, the metaphor joke holds relevance to this process I have undergone for the last 9 months.

I am a working artist, performer, teaching artist, mother, juggler of multiple things at the same time, wife, and visionary. At the point when I applied to FLF, I had turned a corner in my art-making. Though I collaborated with a few arts ensembles, and had recently garnered a new music teaching position with a prestigious arts organization, I had not yet furthered my own vision and personal artistic mission- Ayiti Brass. I felt like I did not have the time, especially being a mother to two young children, and particularly taking into account that any income I made from my art went to my children and daily living expenses. There was no money left over for me to feed my vision. But the vision didn’t die. In fact, the vision burned - like fuel. Its fire continued to blaze inside me and feed possibility.  Applying to FLF, was a moment where I made a decision to look into organizing more time for this vision. It looked like the program that would give me the support to birth this possibility into reality. In a sense, FLF has been my doula of sorts, easing me through the discomfort of not fully knowing, yet knowing. This process has both informed my creative and professional growth. I am carving out time for myself on the calendar for composing rather than trying to squeeze it in while tasking and being with kids.  I find myself advocating for my time to make art more vocally these days. Through Fieldwork, I have shared more of myself and my creative process in the company of fellow artists, moderated by Pele Bauch. Additionally, I’ve started my own blog on my website, “Musings and Meanderings”, where I am open about my process. The 24 hours of rehearsal space I received with my participation in Fieldwork has been extremely valuable - as access to affordable rehearsal space in NYC is like trying to find adequate parking in NYC. Professionally, I have developed a strong relationship with my manager, Bryan E. Glover- FLF Arts Manager Fellow. Working consistency with a manger is immensely helpful. Bryan is someone whom I can bounce ideas with, build with, and is organized and enthusiastic about my vision. We are learning and growing together, as we combine our talents within our partnership. I have FLF to thank for meeting Bryan and for pairing us up. Having a manager is huge for someone like me who has self-produced and self-financed myself into levels of burnout previously. Right now, Bryan and I are gearing up for some upcoming grant applications, and I have recently signed up with The Field to be my fiscal sponsor. I am also taking more chances and opportunities for more growth, having recently been chosen to participate in Creative Capital’s Summer Intensive for artists. Beyond this, I’ve recently been named a Gardarev Resident Fellow, where I’ll be traveling to Maine in November for a week long residency of writing/composing/arranging/choreographing. In the woods, just me and the work.  There is more to go, and more to grow, more to build. So far, this is Ayiti Brass:

Neha Gautam Photography

Aya Lane:

Since beginning the Field Leadership Fund program my understanding of the inequities and challenges within the arts sector, especially in New York, has shifted more micro to macro. Professionally, I have been given tools to expand and deepen my understanding of systematic oppression and my position within these systems, especially in regards to art sector.

The knowledge that I acquired during the People’s Institute for Survival and Beyond Undoing Racism training, as well as through workshops and conversations amongst the fellows, in a facilitated way through the Field or through our own schedule meetings, has continuously encouraged me to question my own privileges. This new knowledge directly impacts and shifts the way that I engage with the artist that I manage, Eric Lockley. I have begun thinking more critically about the ways I’ve been indoctrinated with Eurocentric ways of dealing with power, communication, and how it’s impacted the way I work and am trying to dream up new ways of co-working, that are more balanced and equitable.

I’ve also had the opportunity to realize new things about my working style and how I work best. A major realization that I’ve had is that I have “collaboration brain,” a brain that seeks out other people to work with, brainstorm and get feedback at the beginning of starting new projects. I’ve also realized that I enjoy having a balance of tasks in order to feel productive. I enjoy doing large projects to work towards with clear goals/ checkpoints (an event, building a website, things that offer clear metrics), balanced with other projects that may be continuous such as maintaining social media or ongoing research.

Creatively, I am excited to have found myself in an open and loving community of artists who can relate to some of many of the obstacles that I face within in my work, and who are able to direct me to opportunities that align with my vision.



Learn more at thefield.org and http://thefield.org/content/field-leadership-fund

Field Leadership Fund: The Pairs

We’ve reached the halfway mark of The Field Leadership Fund (FLF) Fellowship and the cohort is well on it's way with it’s work. There are 12 Fellows who make up the FLF cohort. 6 Manager Fellows are each paired with an Artist/Arts Organization Fellow for the final 12 months of the 16-month long experience. Here at The Field, we find ourselves reflecting on what is working, what needs work and what should be taken into consideration going forward. While some things are clear, much of the points of discussion fall into a grey area that we will continue to explore in future blog posts. For now, what’s working? The FLF Manager Fellows and Artist / Arts Organization Fellows have achieved a number of clearly established goals together. From press kits to acceptances into film festivals, there have been some noteworthy accomplishments. For more details, check out updates on the FLF pairs below.

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Artist Eric Lockley and Arts Manager Aya Clarke: Since the start of their pairing, Aya and Eric have submitted and been accepted into two (as of now) major film festivals. In August, The Jump will be shown in the Philly BlackStar Film Festival and in the Martha's Vineyard African American Film Festival. In addition, Aya co-produced the first screening of The Jump here in New York City at http://www.dctvny.org/. The event was well attended and raised money to help further Eric’s work. Going forward, Aya will continue to support Eric in raising funds and creating a more interactive and authentic social media presence.

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Arts Organization Cumbé Center - Kendra Ross and Arts Manager Jehan Young: Beginning in April 2016 Jehan has been working with the Cumbé Center to further develop Cumbe's latest venture, the Outside Engagement (OE) program. OE aims to further the Cumbé Center's mission, of transmitting the performance traditions of the African Diaspora to contemporary generations and creating a durable legacy, by dispatching Cumbé's roster of Master Artists to various teaching and performance opportunities. Presently, Jehan and Kendra's practical work is comprised of policy and contract development, and continually exploring best practices that will serve the interests and needs of Cumbé's communities while fairly representing Cumbé as a viable art organization. http://www.cumbedance.com/

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Arts Organization Kyoung's Pacific Beat - Kyoung Park and Arts Manager Rachel DeGuzman: Kyoung and Rachel are working together to further the mission and vision of Kyoung's Pacific Beat (KPB) and are pursuing new strategies to premiere KPB productions. Since their pairing, there have been a number of firsts. Kyoung’s Pacific Beat held its first company reading of The India Plays in June 2016 at the Ma-Yi rehearsal space. The pair attended their first Theatre Communication Group pre-conference where Kyoung served on a panel and attended his first industry-wide artistic director meetings and where Rachel advocated on Capitol Hill for the field in meetings with the New York State delegation. The two FLF Fellows are also working on a year-long, public art, community engagement project called Creating Peace that will bring together multiple artistic and community partners.

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Arts Organization B3W Performance Group / Emily Berry and Arts Manager Alexis Convento: Since their pairing Emily and Alexis have been working on The FORGIVENESS Project, a three-part, devised intermedia performance. Most recently, B3W premiered FORGIVENESS - Part I: Forgiving the Personal, presented by TriBeCa Performing Arts Center. FORGIVENESS - Part II: How Can Forgiveness Play a Role in Dismantling Systems of Oppression will premiere in the fall of 2017 and FORGIVENESS - Part III: Self-Forgiveness will premiere in the spring of 2019.  Meeting weekly, the pair seeks deeper clarity in voice, activeness in community, and sustainability as a social impact arts organization.

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Artist  Goussy Célestin and Arts Manager Bryan E. Glover: Goussy and Bryan have been working hard to create Ayiti Brass - a music and dance performance ensemble which blends Goussy's artistic experience, interests and cultural heritage. This past June, they successfully held their first public performance as a part of Make Music New York. The pair continues to set up administrative structures to sustain this project including researching funding opportunities and the creation of a new website: www.goussycelestin.com.

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Learn more about the Fellows here.

Learn more about the work the paired Fellows are doing here.

GOBSMACKED

I love words.   They are powerful and personal.  They can create connections and community; and they can disrupt, disturb and deface.

Here are some words: equity, diversity, access, inclusion, social justice.*

In the arts and culture sector these words are trending hard these days.  A quick twitter search for #equity, #artsequity, etc. is humongous.

That’s great.  People are really talking about big, tough issues.  People want the world to be better.  People will do the necessary and hard work to activate these words.  I hope.

The more we use these words though, the more they lose their power.

I was at a community forum recently and a brave/stupid soul asked the large group, “What do you mean by ‘equity’?”The entire room was gobsmacked (gob-smakt; adjective, Chiefly British Informal; utterly astounded; astonished)

For many of us, it’s hard to talk about these words and what they mean.  We are afraid of getting it wrong, of feeling stupid, of offending someone.  And on top of these fears, for many of us, the word equity has become a buzzword. It’s everywhere.

In part because we all have so much work to do.

In part because there’s a lot of money on the table right now for equity and diversity work.  And we all need some money to do the work we want to do.

To be transparent, The Field is right there too.  Doing the work, launching some programs, trying to get some money for the work we are doing.  Our very own Field Leadership Fund is building the skills, resources and power of a group of 12 amazingly ambitious next generation arts leaders.
(Watch out world.  They are in it to win it.)

In my gut though, The Field knows that these words, equity, diversity, access, inclusion and social justice have deep meaning and that the work to achieve them is long-term, it’s intentional and thorough and conscious.

The words are real and the work is real and hard. It is changing us.  And it will change you.
Join us in activating the words.  This July The Field is thrilled to co-sponsor the Undoing Racism workshop for artists and cultural workers.  This is a powerful workshop that focuses on what racism is, its history and how we can un-do it.  This knowledge builds our language muscles, builds our vocabulary, and builds our activism muscles. We believe that it is a vital opportunity to learn how to activate ourselves for the vital work of justice in the arts. (Join us at Undoing Racism here in July).

-- By Jennifer Wright Cook, Executive Director of The Field

* from Merriam Webster merriam-webster.com/dictionary

• equity: noun, eq·ui·ty \ˈe-kwə-tē\ fairness or justice in the way people are treated 
• diversity: noun, di·ver·si·ty \də-ˈvər-sə-tē, dī-\ : the quality or state of having many different forms, types, ideas, etc.; the state of having people who are different races or who have different cultures in a group or organization 
• access: noun ac·cess \ˈak-ˌses also ik-ˈses\ a way of getting near, at, or to something or someone; way of being able to use or get something ; permission or the right to enter, get near, or make use of something or to have contact with someone.
• inclusion: noun in·clu·sion \in-ˈklü-zhən\  the act of including; the state of being included; a relation between two classes that exists when all members of the first are also members of the second; the act or practice of including students with disabilities in regular school classes
• social justice.*a definition of this was not available in the free version of Merriam Webster online.  

Wikipedia had this to say.  Social justice is the fair and just relation between the individual and society. This is measured by the explicit and tacit terms for the distribution of wealth, opportunities for personal activity and social privileges… In the current global grassroots movements for social justice, the emphasis has been on the breaking of barriers for social mobility, the creation of safety nets and economic justice.”  [excerpt]