Updates — U.S. Department of Arts and Culture

Carol Zou

Carol Zou

Sunsetting Honor Native Land

“Acknowledgment by itself is a small gesture. It becomes meaningful when coupled with authentic relationship and informed action. But this beginning can be an opening to greater public consciousness of Native sovereignty and cultural rights, a step toward equitable relationship and reconciliation.” (USDAC attribution)

With more than 45,000 downloads,the USDAC Honor Native Land (HNL) toolkit and accompanying materials have powerfully and purposefully amplified the practice of land acknowledgement—with significant impact across many sectors. From 2017 to the present, the HNL work contributed to a burgeoning field of solidarity, understanding, and decolonization. When authored in 2017, the HNL toolkit filled a void. Today, land acknowledgments are almost commonplace, and have shifted in ways we did not always anticipate. Our intention has always been to use acknowledgments as a starting place for much more significant and bold solidarity action. With gratitude and deep reflection, we are sunsetting our HNL programs. Numerous organizations exist to support the movement from acknowledgement to action and we now defer to them.

The USDAC trajectory with land acknowledgements began with non-Indigenous allies, at the encouragement of and with deep consultation from numerous Indigenous individuals and groups. Specifically, the USDAC convened Indigenous activists, artists and culture bearers on the forefront of many movements. This deepened and broadened our understanding and scope for land acknowledgements and the sphere of operation they should inhabit. Land acknowledgements are beyond statements, they have dimensions beyond geographic, academic, political, Indigenous and colonial realms. 

The USDAC is deeply committed to the shifts and potential impacts for those who are touched and reached through thoughtful land acknowledgements. As land acknowledgements become more commonplace, the impacts have become more complicated. We recognize ever changing landscapes require deliberate and informed ongoing action.  Because of these and other circumstances, we have made the thoughtful decision to sunset USDAC Honor Native Land programs. The toolkit and other resources will continue to exist, but It is time for others with a strong pulse on the spheres enveloping land acknowledgements and those better equipped and staffed, to proactively lead the charge. 

The foundation of the Honor Native Land campaign goes beyond naming the humans who inhabited and continue to steward the land. HNL is an assertion that we are all connected to the earth, the water, the air, the cosmos, and each other. Our destinies are intertwined in this moment of change. We join together, as collective liberators, promoting and creating change that honors all living beings. We lead with hearts, minds, and creativity, knowing that policies and governments will follow. The USDAC will always Honor Native Land, and the program we set on behalf of such. 

We remain grateful to the previous members of the USDAC team who created and evolved USDAC’s HNL work—Adam Horowitz, Amelia Winger-Bearskin, Arlene Goldbard, Gabrielle Uballez, and Jaclyn Roessel—and to the many partners and advisors who helped us forge and walk this path! With gratitude, we acknowledge and thank them. (Biographies below)

We encourage you to utilize these land acknowledgement resources, and always seek and contribute to liberation!!

Resources on Land Acknowledgement:

Deep gratitude to everyone who has downloaded and forwarded the toolkit and assisted with our vision and efforts. Particularly, we thank the following key contributors to the USDAC Honor Native Land efforts:

FAQ’s:

Why are you sunsetting your efforts?

Our dreams for HNL are being manifested by others and frankly, we do not have the manpower to take it to the levels and realms we envision. 

What are the USDAC dreams beyond Land Acknowledgements?

We envision broad understanding that land acknowledgements are central to understanding complicated histories of people and regions. We emphasize the necessity for including perceptions beyond land and people. The realms for these understandings include air, water, plants, animals, birds, spirit, memory, and more.

How can I help move land acknowledgements to new levels and realms?

Educate yourself and others about sovereignty, Indigenous rights, Land Back, and Indigenous reparations. Support these movements. Our resource list can assist with your connections. 

Who else should we connect with for Land Acknowledgment guidance?

Several great resources are listed and linked above, along with a few articles that will lend information about the changing landscape of land acknowledgments. 

Where are the people who used to lead this program?

They are still part of our valued network. We have put links to their websites in the thank you above. 

Are your resources still available for use?

Most definitely. We believe the work produced through this effort is valuable so the toolkit will remain available on our website. 


What can I do if I need more assistance than is offered in the toolkit?

For a donation to our non-profit, the USDAC team is available to consult with your organization. We can lend expert advice on how to craft your specific acknowledgement. Just ask!

How will you continue to prioritize Indigenous voices in your work?

The USDAC holds Indigenous rights as central to all social justice work. Our work is now focused on supporting and connecting cultural organizers to movement spaces. This means we honor, support, and include Indigenous expressions and actions.

Dispatches from Borikén and Providence: Shey Rivera Rios

Introduction: Shey Ri Acu Rivera Rios is a Puerto Rican multidisciplinary artist and community organizer based in Providence, RI. In this blog post, they introduce us to their practice and urge us to support the people in Puerto Rico who are experiencing the ramifications of Hurricane Fiona, and Hurricanes Maria and Irma from years prior. To learn more about their practice, view their presentation during our 2022 Fall Network Gathering here.

PHOTO CREDIT: CAT LAINE, PAINTED FOOT STUDIO

Tai karaya, hola a todes, hello everyone. 

I’m Shey Ri Acu Rivera Ríos, born and raised in the island of Boriken, and otherwise known as the settlement of Puerto Rico, land of Taino people and of AfroCaribbean resistance. 

And I live in Providence, RI, land of Narragansett and Wampanoag peoples, and a long lineage of Black leaders. 

I come from a land of mangoes and rainstorms, of wet soil, and warm seas. My people are warriors and healers. My people understand the power of joy in times of hardship. My people are proud. My people can knock down colonial governors and sustain movements of self determination across time, against hurricane winds, snapping skirts at the beat of drums under the canopies of the fiery red flamboyan trees. Today I am a person with a heart that is split between two geographies and has learned to call this abundance. 

I’m a multidisciplinary artist and community organizer. I’m a 2012 Intercultural Leadership Institute (ILI) alum. I use performance, visual art, and storytelling to imagine better futures for and with the communities I’m a part of. I am an independent artist and founder of Studio Loba, a storytelling lab that uses art to strengthen social causes. I’ve worked with many amazing organizations, including AS220, an arts and culture organization in Providence, First Peoples Fund in Lakota territory, and One Square World, - a climate justice org in Boston. And I’m the Co-Director of an abolitionist futures project called Moral Docs alongside co-director and arts facilitator Vatic Kuumba. 

My practice is informed by my experience in the arts, community development, and social practice. But most of all, it is informed by my family and growing up in rural Borikén, and the experience of colonization. I use whatever medium I can, to create stories to imagine decolonial possibilities. And I’ve been on a long journey that has led me in the path of using art and creative practice to impact policy. Whether it’s imagining abolitionist futures that invest in and center community care; or imagining a liberated future for Borikén where Black, and Indigenous,  women, and nonbinary folks are leading the way into new governance models; or writing poems of queer love. I’m here for the possibilities of being better together. 

I want to uplift the experience of the people of Borokén right now, at the 5th anniversary of the devastation of Hurricanes Maria and Irma, and the very recent trail of Hurricane Fiona. And the humanitarian crisis that reminds us how the climate crisis is connected to colonization and white supremacy. And uplifting the people on the ground in Borikén who have long been doing the work to shed light on the injustices and the problems, those who ground us in hope, and those who lead the way and take risks to engage us in bold reimaginings. 

This can only happen with intercultural and intersectional coalition building. It can only happen with truth and vulnerability and risk to walk in our truth and learn from others.  

The Art Worlds We Want: Solidarity Art Economies

Guest Blog by Nati Linares and Caroline Woolard

 

[USDAC Introduction: Last year, we launched A People’s WPA, a bold reimagining of labor. New Economy Coalition has been at the forefront of reimagining economic systems for artists. This is an excerpt from a piece written by art.coop’s Nati Linares and Caroline Woolard in 2021 for Nonprofit Quarterly. Read the entire piece. Through our blog, we are excited to continue to bring you reflections and provocations from our partners in the field.]

We are two mothers, listening, learning, in a pandemic, writing to you from the United States, on unceded Nipmuc, Podunk, Tunxis, Wangunk, and Sicoag land on the East Coast. Here—and likely where you are—artists and culture bearers are innovating models for liberation. We tuck in our babies, hold their small hands through the virus and tear gas, and continue the intergenerational work. We are Nati Linares and Caroline Woolard—a cultural organizer and an artist—and we believe that every cultural worker should be able to feed their children and pay their rent. We believe that culture is the key to reimagining the collective vision of what’s possible. As you read this, we invite you to sense the heartbeats that flow through it. This is one effort among many. This is an invitation to join a long process of transformation—together.

Recently, in an Anticapitalism for Artists workshop,1 musician Clara Takarabe said: “I have asked, as you have probably asked: Is there a place in this world for me? Today, I would reframe that question as: Is this the world we deserve?”2 Takarabe reminds us that together we can join and organize the worlds we deserve—in the arts and beyond. In fact, the people who have been most harmed by our current system of neoliberal and racial capitalism are creating community-controlled, hyperlocal economies that move us beyond capitalism. The systems that artists want are not only possible, they already exist—and they can be strengthened and cultivated with intention.

There are many examples. A leading Native artisan co-op in the country, Qualla Arts and Crafts, has been led by culture bearers since 1946.3 In Boston, a democratically managed investment fund, Boston Ujima Project, places Black, Indigenous, and people of color (BIPOC) arts and cultural organizing at the heart of its work.4 A leading national community loan fund that invests in U.S. worker co-ops, The Working World, was started by artists.5 Artists in Belgium founded Smart, the co-op that gives 35,000 freelancers the benefits of full-time employees (including unemployment insurance).6 Smart’s model is now being piloted in the United States by the U.S. Federation of Worker Cooperatives’ Guilded.7

Why should culture and economic innovation go together? Because, right now, we have a superstar system in which the winners take all and the rest are left with crumbs. Because, just like art, housing and dignified work are human rights. Because artists are the original gig workers. Because culture making and political organizing go hand in hand. Because we want a world in which everyone’s needs are met, so that everyone can participate in the remaking of culture and society. Because an artist living in a community land trust in New York City will have twenty-seven hours a week to make art, compared to an artist in market-priced housing who will have four hours a week for artmaking.8 Because we must repair centuries of injustice.

While practices of equitable and sustainable self-determination and community control are rooted in a myriad of ancestral and community norms, the term solidarity economy is relatively recent. The term emerged in Chile and France in the 1980s,9 gained popularity in Latin America in the 1990s as economía solidaria, and then spread globally as an interdependent movement after the first annual World Social Forum in Brazil, in 2001, which popularized the slogan “another world is possible.”10

The solidarity economy is now recognized internationally as a path to valuing people and the planet over profits and to uniting grassroots practices like lending circles, credit unions, worker cooperatives, and community land trusts to form a base of political power and transform our economy and world. Most people are aware of the discrete practices and models that comprise the solidarity economy, but do not know that there is a framework that holds these concepts together, or that these practices are supported holistically in other countries around the world.

The following are some examples of arts and culture groups and initiatives that are part of the solidarity economy in the United States. It is important to note that all networks and infrastructure in the solidarity economy—regardless of emphasis or not on arts and culture—aim to support artists and culture bearers.11

Read the entire piece for examples.

To support the solidarity economy with integrity in the United States and beyond, a slow process of relationship building between culture bearers, solidarity economy organizers, public sector workers, and arts and culture grantmakers must begin. Lasting impact will not be made if (1) solidarity economy becomes a buzzword, popular only for a short time, or (2) if newcomers with visibility are supported instead of community-based groups who have been doing this work for decades.

It’s clear that artists need a solidarity economy if we are to overcome our status as exploited workers. Likewise, the solidarity economy movement needs artists if it is to prevail. We believe that culture—visual arts, music, culinary arts, sports, video games, literature, theater, television, Web content, TikToks, and more—is the key to sparking the collective imagination of what’s actually possible when there is community control of our economies and resources. There have never been radical movements without radical artists and creators at the helm—so let’s get busy resisting, building, and creating.


Press Release: U.S. Department of Arts and Culture launches “A People’s WPA” calling for a publicly funded artist works program

Wheatpaste action in Richmond, VA by Free Bangura

Wheatpaste action in Richmond, VA by Free Bangura

U.S. Department of Arts and Culture launches “A People’s WPA” calling for a publicly funded artist works program

This Labor Day, a new, vividly Illustrated book launches with a public “wheatpasting” poster campaign across 4 U.S. Cities, as US Congressional Representatives propose a new WPA style program.

ALBUQUERQUE, NM; CHICAGO, IL; DETROIT, MI; and RICHMOND, VA, September 6, 2021— On Labor Day, The U.S. Department of Arts and Culture (USDAC) will unveil 4 large-scale public “wheatpasting” poster campaigns in several US cities to coincide with the launch of A People’s WPA, a bold proposal (and book!) that aims to uplift essential forms of cultural work, and offer guidance on how to  build an inspiring vision of our shared future. The USDAC is a national people-powered network (not a federal agency) composed of artists, activists, and allies inciting creativity and social imagination to shape a culture of equity, empathy, and belonging.

The richly illustrated publication, A People’s WPA, calls upon policy makers to institute a publicly-funded artist works program – reenvisioning the WPA of the past – that recognizes the ways that artists contribute to society along 7 themes: DEEPENING DEMOCRACY, HEALING, LIBERATION, NOURISHMENT, REGENERATION, REMEMBERING, and TRUTH TELLING. Over the course of a year, USDAC collaborated with 25 projects across the US that embody these ideas in action, and commissioned 25 poster artists to illustrate the power of their work. USDAC is excited to release a publication featuring these works, along with essays, toolkits and policy ideas that can help pave the way forward. 

Four artists/artist collectives in four different cities will deploy public wheatpasting campaigns of the WPA-style posters included in the book to promote the work.  They are: fronteristxs (Albuquerque, NM), William Estrada (Chicago, IL), Sacramento Knoxx (Detroit, MI), and Free Bangura (Richmond, VA). In addition to coinciding with A People’s WPA launch, the wheatpastes also coincide with the introduction of HB #5019 Creative Economy Revitalization Act (CERA) by Representatives Teresa Leger Fernandez (D-NM) and Representative Jay Obernolte (D-CA), along with Reps. Chellie Pingree (D-ME), Rosa DeLauro (D-CT) and Ted Lieu (D-CA).

“A recovery from the pandemic must include culture at its core.” said Raquel de Anda, The USDAC’s Minister of Bridge Building. “A People’s WPA builds upon existing pieces of legislation and public works programs to affirm the role that artists play in repairing society and moving us all towards a more just, sustainable and enriching future,” 

For a complete list of posters and collaborators, visit usdac.us/peopleswpa 

Schedule of Events:

  • Twitter townhall lead-up event - Wednesday, September 1st

  • Poster campaign - Labor Day Weekend

  • Book launch - Labor Day

About the US Department of Arts and Culture

The USDAC is a network of artists, activists, and allies inciting creativity and social imagination to shape a culture of equity, empathy, and belonging.

The USDAC affirms the right to culture and pursuing cultural democracy that:

  • Welcomes each individual as a whole person

  • Values each community’s heritage, contributions, and aspirations

  • Promotes caring, reciprocity, and open communication across all lines of difference

  • Dismantles all barriers to love and justice

Reflections from the #Defund Movement

Recent uprisings across the country have confronted elected officials with a clear, attainable policy demand: defund police departments. In response to this clear policy demand, however, many government officials are responding strictly in cultural terms. Washington DC’s mayor inscribed “Black Lives Matter” on a main road while approving a $19 million increase in police funding. Rhode Island’s Governor removed “Plantations” from the full state name while approving a $35 million State Police building. This strategic moment asks us to do many things at once: not only to acknowledge these concessions by the powerful as testaments to our increased power and celebrate them as important milestones on our journey, but also leverage them toward concrete change.

As the frame “Black Lives Matter” increasingly embraces demands for concrete reforms like Defund the Police, we see this as a critical moment to lift up the work of creative communities and underscore the power we have in bringing forth symbolic and material change. How can we recognize the multitude of ways we have helped give shape to the movement, while ensuring that our work is not co-opted by those seeking to make a superficial statement and avoid deep change?

Advocates have spent years fighting for increased training for officers in mental health awareness, de-escalation training, case management skills, and so on. The “defund” demand recognizes that the time is upon us to move to new visions. It’s important to note that in Minneapolis, the police have been equipped in nearly every tool a reformer might ask for: body cameras, community dialogue programs, early-warning systems for abusive officers and trainings in implicit bias, mindfulness, de-escalation and crisis intervention. Still, George Floyd is gone. 

We know that we cannot achieve what we cannot imagine, so we asked our network of artists, cultural workers, and movement organizers what it means for arts and culture to stand in true solidarity with the movement to defund the police. Today, we're sharing reflections from artist Nafis M. White and The Black School's Shani Peters:

We hope their words and actions can inspire you toward finding your own role in building an abolitionist future. Over the coming weeks, we’ll be sharing these critical reflections here on our blog, on social media, and directly with our network. If you’re not subscribed to our updates, now’s the time.

Together, we create.

The USDAC Team

Creative Responses to COVID-19: USDAC Listening Shareback

INTRODUCTION

When the COVID-19 pandemic reached the United States, we knew we had a responsibility to respond as the U.S. Department of Arts and Culture. But we also knew that we had a responsibility to listen to our community, to learn all the different ways that we were being affected by the pandemic, and all the different ways that we could show up for each other.

So we spent the month of May listening. We asked our network to log onto their ten millionth Zoom call, as well as filling out a digital survey. Nearly 400 of you shared your voices in that process. We reached out to partner organizations, to thought partners, to our USDAC Cabinet. All of those voices build the USDAC community: people whose thinking around arts, culture and social change is so critical that we knew we couldn’t take steps toward coordinated creative response without hearing those voices first.

WHAT WE LEARNED

We broke down what we heard into four different priority areas: fund, heal, connect, and change the damn system. 

Image credit: Angela Faz for U.S. Department of Arts and Culture

FUND

We heard loud and clear that artists and cultural workers are struggling economically. Almost half of the survey respondents have lost work due to COVID-19. Our partner organizations emphasized the need for creativity and flexibility in distributing funds to artists and impacted communities. We were also asked to step up and use our platform to advocate for funding to those communities.

What’s going to happen as the unemployment rate begins to skyrocket? What’s going to be true when no one has paycheck to live paycheck-to-paycheck? We need to reorganize forms of social life to help people get through.—Kenneth Bailey, Design Studio 4 Social Intervention

HEAL

You’re all showing up for your communities, but are your communities supporting you the way you need? Our thought partners working in somatic healing, grief, and disaster recovery noted that people are undergoing myriad challenges— grief, depression, anxiety, domestic violence, and many more. We heard a need to pace ourselves and to find creative ways to support personal and community mental health and wellbeing for the long journey ahead.

We need to be learning from our elders/ancestors—folks who have been through war, folks who have been through turmoil. Pausing and learning from them.—Adaku Utah, Harriet’s Apothecary. 

CONNECT

You’re all finding ways to connect with your neighbors. From creative uses of Zoom, to Story Circles, to socially-distanced public art projects, artists are showing the power of creativity to build local connections. We were reminded also to think of internet connectivity as a privilege and to consider the communities without digital access. We were called to connect our experiences to a global framework and to imagine new approaches to people-powered diplomacy across borders. 

A lot of the art [that we make with women in re-entry] is not about how terrible the moment is but about how beautiful family and community can be. [...] Parable of the Sower by Octavia Butler and the power of speculative fiction is really relevant in this moment.—Mark Strandquist, People’s Paper Coop.

CHANGE THE DAMN SYSTEM

The response was clear: the system needs change. The ways that COVID-19 has disproportionately impacted the most vulnerable has highlighted just how broken our system already was. It wasn’t working for people who are incarcerated, for immigrants, for the elderly, disabled, poor, homeless, queer, black, Indigenous and other people of color.  Indigenous communities revisiting the generational trauma of pandemic are experiencing some of the highest rates of COVID-19 infections.  Black people continue to bear the brunt of police and white supremacist violence under COVID-19—evidenced by the recent murders of George Floyd, Breonna Taylor, Sean Reed, Nina Pop, Ahmaud Arbery, and Tony McDade.

The system needs to change, and we must act in this moment to build a world that’s equitable for all of us. Many people are starting to think seriously about the ideas of universal basic income, rent cancellation, universal healthcare. Communities that have been under attack for a long time have built, leaned on and refined ancestral technologies to thrive. We’re seeing new systems of mutual aid grow in every pocket of the country, and have the opportunity now to create permanently organized communities. We heard a desire expressed for new tools and resources to support in processes of collective envisioning and organizing. You said it loud and clear: artists are ready to make a new world. 

Oppressed people have written the playbook about existing in this moment and surviving pandemic/epidemic. [...] We’re not running towards the fire, we’ve already been in it. [...] The only new thing is that it’s happening today. —Harold Steward, The Theater Offensive

Image credit: Color of Change

WHAT’S NEXT? 

We will be using these findings and priority areas to help shape programmatic offerings in the months ahead. Stay tuned for upcoming opportunities for coordinated creative response. In the meantime, we encourage you to reflect on how you can connect to these four different priority areas in your own life and community advocacy—and to draw some inspiration from the projects compiled below. 

APPENDIX A: WHAT’S INSPIRING US?

In moments of emergency, artists have the great capacity to envision new futures and to build social well-being. And they’re doing it already! We want to shout out these amazing relief efforts from the arts and culture sector: 

#3DPPEARTISTNETWORK

The #3DPPEArtistNetwork is a network of artists using 3D printers to print personal protective equipment and distributing them to frontline responders and impacted communities. #3DPPEArtistNetwork.  

ARTIST RELIEF FUND

A coalition of grantmakers came together to create Artist Relief Fund, $5,000 grants to artists facing dire financial emergencies. Apply at: https://www.artistrelief.org/

ASIAN AMERICAN FEMINIST ANTIBODIES ZINE

Asian American Feminists Collective presents this zine that addresses care in the time of coronavirus, and anti-Asian racism. https://www.asianamfeminism.org/resources

AUNTIE SEWING SQUAD

Artist, local representative, and self proclaimed “sewing overlord” Kristina Wong has organized a 700+ member and growing Facebook group of Aunties who are sewing face masks for vulnerable communities such as farmworker communities and indigenous communities. The Aunties support each other with virtual sewing parties and self care goodies, and organize expeditions to drop off supplies. https://donorbox.org/auntie-sewing-squad 

CV19MEMORIAL

Led by a team of international artists and activists, cv19memorial creates a digital space in which to submit testimony and mourn the lives lost to COVID-19. http://www.cv19memorial.org/

DEAR FRONTLINE

Visitors to Dear Frontline can write a message to frontline workers on artist-designed postcards by Carrie Mae Weems, Favianna Rodriguez, Kate DeCiccio, and more. https://dearfrontline.com/

FILL THE WALLS WITH HOPE, RAGE, AND DREAMS!

Fill the Walls with Hope, Rage, and Dreams solicits submissions from visual artists and poets, which are then turned into beautiful posters that are wheat pasted in public. The posters create a reminder to those of us out in public that even though we are socially distant from each other, we are not alone. https://coverthewallswithhope.weebly.com/

JUST SEEDS COLLECTIVE

Printmaking collective Just Seeds Collective has been releasing Care Packages, free graphics related to COVID-19, healthcare, mutual aid, and more. https://justseeds.org/graphic/care-package-1/

NO GOING BACK: A COVID-19 CULTURAL STRATEGY ACTIVATION GUIDE FOR ARTISTS AND ACTIVISTS

Our friends at The Center for Cultural Power have just released “No Going Back: A COVID-19 Cultural Strategy Activation Guide for Artists and Activists” to meet the moment and help drive the lasting change we need. This artful guide helps movement groups and artists create aligned narratives that move us toward policies we need now, and gives tips on how to put this guide to practice. bit.ly/covidartistguide

SUNRISE CREATIVE SCHOOL

Want to learn how to make change during this moment of crisis? Sunrise Movement is taking applications for their creative school, a 3 week online course that teaches young people the basics of artistic activism such as: “Visual Art as an Organizing Tool,” “Video Production as an Organizing Tool,” and “Graphic Design Skills, Tools, and Strategies for Organizing.” https://www.sunrisemovement.org/sunrise-creative-school 

YIMFY2020

Artists Daniel Tucker and Emily Bunker turned their stimulus checks into Yes In My Front Yard 2020, an exhibition of yard signs featuring artwork by local artists. https://yimfy2020.wordpress.com/

APPENDIX B: USDAC RESOURCES

ART BECAME THE OXYGEN: AN ARTISTIC RESPONSE GUIDE

Art Became The Oxygen incorporates first-person experience and guidance from respected voices deeply engaged in artistic response from Katrina to Ferguson, from Sandy to Standing Rock. It includes hundreds of links to powerful arts projects, official emergency resources, and detailed accounts for those who want to go even deeper. https://usdac.us/artisticresponse

SIX ESSENTIAL ETHICAL COMMITMENTS FOR EFFECTIVE ARTISTIC RESPONSE

We broke down our lessons learned in Art Became the Oxygen into these six bite-sized shareable principles, which you can use in your teaching and in your artistic practice. Download images here.  

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