Arts Project Support
Arts Project Support
Umbrella Collective's A SQUID HAS THREE HEARTS.
Lynne Bertalmio: Retired Director Stillwater Public Library; Cristeta Boarini: 826 MSP Program Director; Craig Dunn: Arts Accessibility Consultant; Tricia Heuring: Public Functionary Executive Director; Alejandra Iannone: Sparkle Theatricals Creative Co-Director; Wu Chen Khoo: Technical Tools of the Trade Stage Technical Designer and Director; Wendy Lane: Retired Human Resources Professional; Alejandra Pelinka: City of Bloomington Director of Creative Placemaking; Tommy Sar: Ordway Center for the Performing Arts Coordinator of Community Programs; Lue Vang: McKnight Foundation Accountant; Donna Saul Millen: TPT-Twin Cities PBS Events Director; Christal Moose: Native Pride Productions Inc Manager; Adaobi Okolue: Twin Cities Media Alliance Executive Director; Andrea Sjogren: Hopkins Community Education Adult and Youth Programs Coordinator; Deanna StandingCloud: New Native Theatre; Sara Wilson: Gislason and Hunter LLP Attorney; Robyn Cline: City of Savage Economic Development Commissioner.
Carly Swenson: Artistic, Audience Development / Marketing, Community Education; Daniel Tran: Community Education, General Administration, Artistic; Tia-Simone Gardner: Artistic, Youth Programming, Community Education; Tisidra Jones: Community Education, General Administration.
ACHF Arts Access ACHF Arts Education ACHF Cultural Heritage
We will directly engage 15 artists and approximately 400 audience members with this production, and inspire them to continue the conversation about climate change beyond the performance. 85% of audience members and artists report a better understanding of the implications of climate change and commit to having conversations about climate change realities and solutions with their families and friends. Audience members and collaborating artists are invited to fill out online post-performance surveys including demographic data and critical/creative questions about the work. Beyond formal surveys, we invite conversations to continue beyond the performance venue by encouraging social media engagement, lobby discussions, and informal gatherings at local establishments.
We were not able to achieve our outcomes due to COVID-19.; By converting these funds to general operating funds, we were able to sustain operations throughout the pandemic, hold online artistic gatherings and informal impromptu relationship building moments, and pay artists for their time. We were also able to begin a strategic planning process to assess the future of the organization. The flexibility of these funds was vital to our ability to stay connected with each other and to our artistic roots during these challenging times for the industry.
Other,local or private